Red Carpet: Creative Arts Emmys

Purse first. Purse first. Jose here. First things first: congrats to RuPaul on his first Emmy! The iconic entertainer won on his first nomination as Outstanding Host for a Reality or Reality-Competition Program for RuPaul's Drag Race. It only took him 8 seasons, but that's another story, Emmy as we all know is a notoriously slow learner who only starts liking things once they've stopped being cool, or once the uncool things they love have ended and they have no other choice but to reward cool things, which is why over the weekend Amy Poehler and Steve Buscemi also became Emmy winners <3

Keeping up with their tradition of loving the same things, the Creative Arts Emmys (which this year were awarded over two nights after hitting a record 82 categories!) also perpetuated the same red carpet trends, as the stars showed up in gowns that were either beaded or Grammy-esque, or both. Unlike the Oscars which continue being the epitome of glamour, or the Golden Globes which are its more playful cousin, the Emmys are usually about restraint and stars often show up in the same designers they did the previous year. This becomes even duller in the Creative Arts ceremony which isn't televised, which is my way of saying that coming up with looks worthy of discussion was quite the feat...

See the notable looks after the jump. 

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Red Carpet: Venice, Toronto and Kruger (Oh, My!)

Jose here. I'm glad to report that as the temperatures come down, slightly, so do the hemlines, which means it's red carpet season! <3 So let's get down to business! First up in Venice we have Eva Herzigova in a sheer, but elegant, Alberta Ferreti. The Italian designer's bold work usually pops up in Venetian red carpets and Herzigova's simple styling make us think she's equally ready for a fancy cocktail party, as she is for lounging poolside. Next up the divine Emma Stone in Atelier Versace, who more and more seems to be paying homage to red carpet goddess Nicole Kidman and you won't hear me complain about that.

European red carpets tend to be more playful which is why it's no surprise to see Chiara Mastroianni in this androgynous suit from Gucci, the smoky makeup and severe hair round up one of my favorite looks of the year. Since Amy Adams is in the new Tom Ford movie, she might as well wear what he designs, right? (Also, talk about multitasking Mr. Ford) She's a vision in this sparkling column that seems to have sprung from a Halston wet dream.  More looks after the jump!

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Praising Jared Leto's Sartorial Style

by Murtada

Will Smith is a big movie star and has been one for a very long time. What would he choose to wear to promote his new superhero movie at fancy premieres in New York and London?

Why brown and blue suits, as if he's going to the latest formal after work function...

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Doc Corner: 'Women He's Undressed' Reveals Hollywood Couture

Glenn here. Each Tuesday we bring you reviews and features on documentaries from theatres, festivals, and on demand.

Gillian Armstrong is nearly as prolific as a documentarian as she is a dramatic filmmaker. While the likes of her “Seven Years On” series (an Australian 7 Up), her Bob Dylan concert doc Hard to Handle, or the true crime murder mystery of an interior design queen in Unfolding Florence aren’t as well-known as her collaborations with Judy Davis, Cate Blanchett, Mel Gibson, and Winona Ryder, they are eclectic and passionate works nonetheless. As she said in her interview with Jose last year at Toronto, “there’s a different art to making documentaries” and unlike many other directors who split their time between mediums, her documentaries do feel distinctly unique from her other work and yet equally essential.

Her latest non-fiction work is Women He’s Undressed, a peek behind the velvet curtain at Orry-Kelly, a costume designer from Hollywood’s golden age. Armstrong posits that he is a virtual unknown – a claim a deliciously acidic Ann Roth, one of the doc’s more entertaining talking heads, doesn’t have a bar of – including in his home country of Australia. What we do know is that he was gay, secretly dated Cary Grant, Bette Davis was fiercely loyal to him, and that he had a hand in some the greatest films of all time from Casablanca to 42nd Street, An American in Paris to The Letter and many more. You don’t win three Academy Awards without being a little bit special!

[Jane Fonda, Marilyn Monroe's breasts and more...]

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Interview: 'The First Monday in May' Director Andrew Rossi, on the Met Gala, Anna Wintour and Why Fashion is Like Performance Art

Jose here. The very first time I went behind the scenes at The Metropolitan Museum of Art, there was an image that immediately caught my attention. A big, bright yellow sign commanding walkers to yield to the works of art in transit. It didn’t only make me wonder how many pieces by Da Vinci, Rodin, Renoir, Van Gogh, Warhol, Kahlo and many other established legends had travelled through the corridors I was walking in, it also made me wonder how many Alexander McQueen and John Galliano gowns had followed them. If the idea of fashion as art remains to some a topic of debate, it has never been so at the Met where it plays an essential part in raising awareness of the Museum’s outreach through the Costume Institute.  

A photo posted by Jose Solis (@josesolismayen) on Jan 19, 2016 at 8:20am PST

For decades, the Costume Institute has been holding a Gala to raise funds to preserve and expand its collection of over 30 thousand costumes and accessories that range from centuries old furs, to iconic dresses worn by Jackie O. The Gala is at the center of Andrew Rossi’s documentary The First Monday in May which was chosen as the Opening Night selection at the 2016 Tribeca Film Festival. Our conversation with Rossi after the jump...

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