Really, it was the night of a single, unbelievably cool dress by Céline, as worn by fashion hero Tilda Swinton. The actor not only consistently chooses directional designs for the red carpet but totally owns the look. There was nothing flashy about this particular white dress, with it's two-piece feel and simple contrast panel at the bottom of the skirt. Crucially, Swinton never looks like she's wearing a costume or a wedding dress – two things that so many red-carpet ensembles resemble. In contrast, the brilliant Kristen Wiig chose a white Alberta Ferretti dress, which, while pleasant, looked exactly like it'd fallen off the rack of a local bridal shop
Photograph: Gareth Cattermole/Getty Images; Facundo Arrizabalaga/EPA
What a lot of black on the red carpet last night. Often it was jazzed up with – wait for it, drum roll! – white. Wow. How groundbreaking. Michelle Williams looked pretty in a bespoke H&M strapless dress but she never really pushes the envelope, leaving her cropped hair to work its magic. Her book bag by Olympia Le-Tan was a fun reference to Marilyn Monroe's husband Arthur Miller. As a concept, I was all for Octavia Spencer's white shirt and feathered skirt but the proportions were all wrong – the skirt was hitched up too high and the shirt was too stiff. Alexandra Edenborough, Gary Oldman's wife, chose a black and white halter dress
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Despite being fashion's headline trend for spring, the red carpet did not heave under the weight of pastels. Maybe that'll be the headline Oscar look? Colour was in fact rather thin on the ground this year, with Penelope Cruz in a so-so red Armani Privé gown with a stiff strapless top. Naomie Harris in pinging yellow Pucci and Viola Harris in pinging pink Valentino both, sadly, chose dresses with tricky top halves that just didn't do much for either of them despite the fact that both have fantastic figures Photograph: Jon Furniss/WireImage; Dave M Benett/Getty Images
According to both Meryl Streep and Christina Hendricks, if you've got a bust, then you want to put it in a black Vivienne Westwood gown. Hendricks favoured a one-shouldered number with extra bosom uplift, while Streep opted for a draped front and a demure cropped jacket with a strong shoulder. Their outfits looked well put together, but somehow, in both cases, the effect just wasn't very modern
Photograph: Dave M Benett/Getty Images
Givenchy couture in gold sounds like a no-brainer, especially after Madonna's Superbowl triumph last weekend. So it's still a mystery why even a heavenly fringe couldn't save Christina Ricci's gold foil number. It just wasn't the sexy knockout it should've been. Meanwhile, Jessica Chastain chose an Oscar de la Renta lamé pleat affair, which only came alive when she was walking and the skirt could swoosh out
Photograph: Dave M Benett/Getty Images; Fred Duval/FilmMagic
Much as we love you, Helena Bonham Carter, the bird-nest hair, too much eye shadow and wacky handbags are beginning to grate Photograph: Jon Furniss/WireImage
At the close of 2011, the three-piece was the leading look for A-list suits. Michael Fassbender kept it going in Giorgio Armani, but it was the overcoat that united the best-dressed men. Brad Pitt led the way with a single-breasted coat worn unbuttoned over his Gucci tux. George Clooney followed suit but did up his coat, making him look a bit stiff
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While Richard E Grant chose a grey coat, director Terry Gilliam went for layers: a big black coat, kimono-style jacket and big old scarf. Think bohemian dandy
Photograph: Dave M Benett/Getty Images
Forget the glittery box clutch handbags beloved of the female attendees, the night's coolest accessory was a pair of statement specs. Gary Oldman took first prize with these off-clear frames and contrast tortoise shell arms. In second place was director of The Artist Michael Hazanavicius, in classic black art-school/architect specs. Special lifetime achievement award for contribution to glasses: Martin Scorsese Photograph: Carl Court/AFP/Getty Images
The bow tie triumphed at the Baftas, leaving the plain old slim blade tie looking a tad limp. All the young dudes – Douglas Booth, Daniel Radcliffe, Eddie Redmayne and Tom Hiddleston – plumped for the bow. So too did other winners in the menswear stakes: Gary Oldman, Brad Pitt and Ralph Fiennes (who, BTW, was thoroughly dashing in a double-breasted tux) Photograph: Gareth Cattermole/Getty Images; Dave M Benett/Getty Images
The power of hair on the red carpet should never be underestimated. Brad's longer hairdo initially seemed a bit mid-life crisis but, on reflection, a relaxed, longer crop is pure Pitt. However, note to Brad: please never wear this hairlength with blue-tinted sunglasses – unless you're doing a Bono tribute concert. And sorry, but Meryl should have worn her hair down. The sprayed-up look was a bit too Tory wife at fundraiser
Photograph: Jon Furniss/WireImage; Suzanne Plunkett/Reuters
Yes, we mean you, Bonnie Wright. What was that all about? Talking of shoes, Meryl fell out of hers, not to mention flinging her handbag at someone and generally stumbling around. A hat-trick of award show slapstick, if you will. Separate style note: when is everyone going to stop wearing those bloody platform-fronted shoes? Yawn Photograph: Jon Furniss/WireImage; Mike Marsland/WireImage
From stately-home drapes to the red carpet, velvet – an autumn/winter 2012 men's trend in Milan last month – had its share of 'moments'. Eddie Redmayne, poster boy for Burberry, naturally wore a custom-made black velvet number by Burberry. Tom Hiddleston also went for a bit of the glossy stuff, contrasted with matt trousers and shiny dress shoes. And then there was Cuba Gooding Jr in boozy burgundy velvet jacket complete with a matching waistcoat, which would have been nice had he not have festooned himself in a ghastly off-white 'evening' scarf. Shame
Photograph: Ferdaus Shamim/WireImage; Dave Hogan/Getty Images
