Oscars Fashion: Fan Bingbing, Angela Bassett Regal in 2 Ways

Fan Bingbing attends the 95th Annual Academy Awards on March 12, 2023 in Hollywood, California. (Getty Images via AFP)
Fan Bingbing attends the 95th Annual Academy Awards on March 12, 2023 in Hollywood, California. (Getty Images via AFP)
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Oscars Fashion: Fan Bingbing, Angela Bassett Regal in 2 Ways

Fan Bingbing attends the 95th Annual Academy Awards on March 12, 2023 in Hollywood, California. (Getty Images via AFP)
Fan Bingbing attends the 95th Annual Academy Awards on March 12, 2023 in Hollywood, California. (Getty Images via AFP)

Fan Bingbing made a regal entrance in sparkling silver and emerald green on the champagne-colored carpet Sunday at the 95th Academy Awards. Hong Chau wore a high-neck pink Prada column gown with a feathery black train and Malala Yousafzai worked the hood of her silver sparkler from Ralph Lauren like a pro.

Bingbing, the "X-Men" star, wore Tony Ward Couture with her hair sculpted into an Old Hollywood bob, as some of the men among the early walkers brought the sparkle. We're looking at you Lorenzo Zurzolo. Others, like Brendan Fraser, went for traditional black tuxedos.

While Bingbing looked like a queen, Sofia Carson was a princess in white custom Giambattista Valli haute couture, a stunning statement diamond and emerald necklace accenting her ball gown with its off-shoulder, form-fitting bodice, a delicate diamond-shaped cutout at the center. Her jewels were by Chopard, including 122.49 carats of emeralds and 92.57 carats of diamonds.

Also looking royal was Angela Bassett in Moschino. The dress by Jeremy Scott included draping that looked like a huge bow up top as the fabric swirled around her body. She was perfectly accented with a serpent Bulgari necklace.

"It's light, it's royal purple, our color for royalty," she told E!. "Just bringing that to the carpet. And, also spring."

Yousafzai, 25, was a producer on "Stranger at the Gate." She said her dress represented "peace, love, harmony."

"I feel so much myself in it," she told The Associated Press.

Rihanna helped close down the carpet in custom Alaia, a leather band dress she wore over a jersey bodysuit as she showed off her baby bump. Lady Gaga snagged a black Versace look off the runway from the fashion house's show last week in Los Angeles. It featured boning under a sheer top with sheer sleeves and a ballgown skirt with a drop waist. Around her neck was a Tiffany & Co. diamond choker.

Cate Blanchett donned a never-before-seen blue draped velvet top from the Louis Vuitton archives. She wore it with a black skirt made of fully sustainable silk.

Monica Barbaro practiced her carpet walk in a two-tone Elie Saab ballgown of deep plumb and delicate blue chiffon with a long full train.

"They were the first couture house to loan to me when nobody knew who I was," she told E!

Cara Delevingne repped young Hollywood well in a gorgeous red silk taffeta ballgown with a thigh-high slit and one shoulder with a billowing bow. She paired the look with a Bulgari serpent choker in white gold with emeralds for the eyes of the snake.

"Cara’s smoky pink eyeshadow is so fresh and modern. She looks so fresh faced yet simultaneously glamorous," said Danielle James, beauty director for Elle.com.

Florence Pugh went in a different direction with a super-mini look in black under a voluminous strapless top that fell into billowy sleeves and yards of long fabric in a greyish white. It was Valentino Haute Couture. She had a Tiffany & Co. diamond necklace around her neck with matching pink tourmaline earrings.

Halle Bailey did the young proud as well in an ethereal strapless soft blue gown by Dolce & Gabbana, with sheer panels at the skirt and boning on top. So did Janelle Monáe in a Vera Wang look that fell from a strapless black crop top to an orange skirt. She wore a black fabric choker around her neck.

Jamie Lee Curtis went for a long-sleeve sparkler by Dolce & Gabbana that was the precise color of the Oscars' new off-white carpet.

Harvey Guillen and Harry Shum Jr. made statements of their own, the former in a Christian Siriano coat with a silver brocade design and a full ruffled coat and the latter in a white evening jacket with a wide sash and black trim.

"Puss in Boots" star Guillen said his outfit is the first time Siriano has designed for a plus-size man.

The dramatic, embellished long coat flared out at the waist. It evoked Guillen’s vampire mockumentary show "What We Do in the Shadows," on which he plays fan favorite Guillermo.

Shum made sure to grab supporting actress nominee Chau to compliment her bubblegum pink frock while chatting with friends.

"You look amazing," he said.

"The Whale" actor replied he did too.

"I try to change it up," Shum said.

Lilly Singh donned Siriano, who managed to salvage his Oscar looks last week after a pipe burst in his studio. Singh's magenta trouser look was topped with a long matching coat.

Sandra Oh's orange look popped against the lighter carpet. Like Chau, Allison Williams went for soft pink, with lots of sparkle, while Mindy Kaling stunned in bright white, a bustier look by Vera Wang with detached overlong sleeves and open boning. Also in white: Ariana DeBose in a standout Versace moment with jeweled embellishment made to evoke armor.

Williams' Giambattista Valli look came with chunky embellishment, a feather-trimmed hem and a pink taffeta tulle cape.

The beauty games were strong as well. Oh's updo was perfect for her flowy look, also from Giambattista Valli.

"I love the messy updo with a bang. It juxtaposes with the orange dress so nicely. Her light and airy look matches the vibe," said James, the Elle beauty expert.

James Hong was 3 months old when the first Oscars were handed out in 1929. At 94, he’s finally made the show.

Wearing a bow tie with googly eyes, the "Everything Everywhere All At Once" actor arrived in his typically playful mood for the Oscars, pulling faces and camping it up for the cameras.

Eva Longoria also wore white, a heavily beaded look by Zuhair Murad that featured an open neckline to the waist.

There was a healthy showing of black as well, led by Danai Gurira in classic Jason Wu, her hair worn high to, as she told reporters, honor the women who carry things with grace and beauty on the tops of their heads. Phoebe Waller-Bridge also went for black. The strapless look came with a Bulgari serpent choker set in pink gold with diamonds and another set of emeralds for eyes.

Stylist and men's fashion blogger Peter Nguyen had some standouts, including Riz Ahmed.

"His edgy, wide collar open shirt continues the theme of Young Hollywood making more statements by going against the grain of tradition," Nguyen said.

His fav, though, was Questlove in a tone-on-tone black suit, shirt and tie with a minimal topcoat he called both "elegant and flattering." On Questlove's feet were rubbery comfy shoes.

Dwayne "The Rock" Johnson sported a satin double-breasted dinner jacket in ballet pink.

Fashion expert Melissa Rivers, daughter of the late "Fashion Police" host Joan Rivers, loved all the tidy hair, white and statement jewelry.

"Some of the women that we really look to are showing us glimpses of what we're going to see next. We're getting away from the big ballgowns and going with the column," she said.

She includes Jessica Chastain in custom silver crystal Gucci among them. Chastain paired her strapless column gown and black train with a gold Lionhead Gucci necklace featuring 80 carats of green tsavorites and diamonds.

Erika Harwood, senior style editor for Byrdie, noted a strong showing in "truly vintage looks and pieces" pulled from designers' archives.

Also among them: Winnie Harlow in an archival Y2K look from Armoni Prive, Vanessa Hudgins in vintage Chanel, Rooney Mara in 2008 Alexander McQueen and Zoe Saldana in vintage Cartier jewels.

Tiffany Reid, senior vice president of fashion for Bustle, cited white as a huge trend.

"White was the color of the evening, giving angelic on the champagne carpet," she said. "Emily Blunt in Valentino, Michelle Yeoh in Dior, Tems in Lever Couture, Mindy Kaling in Vera Wang, Halle Berry, Rooney Mara in McQueen, Michelle Williams in Chanel."

But her two best dressed were Bassett (in purple) and Chau (in pink). Her glam queen was Gurira, with her hair tribute to "beauty inspired by African women." Shum made Reid's best-dressed list for the men, along with Lukas Dhont, Michael B. Jordan, Paul Mescal and Austin Butler.

Cassie Anderson, fashion director for Cosmopolitan, noted a wealth of rosettes, including those on the looks of Nicole Kidman and Berry. And she, too, saw white as a strong trend, along with metallics like those of Yousafzai and Williams.

"Studies suggest that gold is the luckiest color to wear to the Oscars," Anderson said, "but white was THE color."



Japan's Traditional Kimonos Are Being Repurposed in Creative Ways

Designer Tomoko Ohkata, left, and her assistant Koki Unami hold Ohkata's designs made from old kimono, in Tokyo, on Jan. 15, 2026. (AP Photo/Yuri Kageyama)
Designer Tomoko Ohkata, left, and her assistant Koki Unami hold Ohkata's designs made from old kimono, in Tokyo, on Jan. 15, 2026. (AP Photo/Yuri Kageyama)
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Japan's Traditional Kimonos Are Being Repurposed in Creative Ways

Designer Tomoko Ohkata, left, and her assistant Koki Unami hold Ohkata's designs made from old kimono, in Tokyo, on Jan. 15, 2026. (AP Photo/Yuri Kageyama)
Designer Tomoko Ohkata, left, and her assistant Koki Unami hold Ohkata's designs made from old kimono, in Tokyo, on Jan. 15, 2026. (AP Photo/Yuri Kageyama)

The kimono, that elaborate, delicate wrap-around garment worn by geisha and samurai from centuries back, is getting a vibrant remake, appreciated these days for a virtue that’s more relevant than ever: sustainability.

A genuine silk kimono, which literally means “worn thing,” lasts a hundred years or more. In a Japanese family, it’s handed down over generations like heirloom jewelry, artworks and military medals.

It never goes out of style.

The design of the kimono and accompanying “obi” sash has remained basically the same since the 17th century Edo period depicted in Akira Kurosawa samurai movies.

But today, some people are taking a different creative approach, refashioning the traditional kimono, and also taking apart and resewing them as jackets, dresses and pants.

“I noticed that a lot of beautiful kimono is just sleeping in people’s closets. That’s such a waste,” said Mari Kubo, who heads a kimono-remake business called K’Forward, pronounced “K dash forward.”

Hers is among a recent surge in such services, which also turn old kimono into tote bags and dolls.

The most popular among Kubo’s products are “tomesode,” a type of formal kimono that is black with colorful, embroidered flowers, birds or foliage at the bottom, The Associated Press reported.

She also creates matching sets, or what she calls “set-ups.” A tomesode is turned into a jacket with its long, flowing sleeves intact, and its intricate patterns placed at the center in the back. She then takes a kimono with a matching pattern to create a skirt or pants to go with the top. Sometimes, an obi is used at the collar to add a pop of color.

Kubo said many of her customers are young people who want to enjoy a kimono without the fuss.

A remade kimono at K’Forward can cost as much as 160,000 yen ($1,000) for a “furisode,” a colorful kimono with long sleeves meant for young unmarried women, while a black tomesode goes for about 25,000 yen ($160).

What Tomoko Ohkata loves most about the products she designs using old kimonos is that she doesn’t have to live with a guilty conscience, and instead feels she is helping solve an ecological problem.

“I feel the answer was right there, being handed down from our ancestors,” she said.

Recycling venues in Japan get thousands of old kimonos a day as people find them stashed away in closets by parents and grandparents. These days, Japanese generally wear kimonos just for special occasions like weddings. Many women prefer to wear a Western-style white wedding dress rather than the kimono, or they wear both.

Many of Ohkata’s clientele are people who have found a kimono at home and want to give it new life. They care about the story behind the kimono, she added.

Her small store in downtown Tokyo displays various dolls, including a figure of an emperor paired with his wife, who are traditionally brought out for display in Japanese homes for the Girls’ Day festival every March 3. Her dolls, however, are exquisitely dressed in recycled kimonos, tailored in tiny sizes to fit the dolls. They sell for 245,000 yen ($1,600) a pair.

The original old-style kimono is also getting rediscovered.

“Unlike the dress, you can arrange it,” says Nao Shimizu, who heads a school in Japan’s ancient capital of Kyoto that teaches people how to wear a kimono and how to carry oneself while wearing it.

“In half a year, you can learn how to do it all by yourself,” she said, briskly demonstrating several ways to tie the obi to express different moods, from playful to understated.

Besides its durability, said Shimizu, that versatility also makes the kimono sustainable.

Younger Japanese are taking a more relaxed view, wearing a kimono with boots, for instance, she laughed. Traditionally, kimono is worn with sandals called “zori.”

Although it requires some skill to put on a kimono in the traditional way, one can take lessons from teachers like Shimizu, like learning a musical instrument. Professional help is also available at beauty parlors, hotels and some shops.

Most Japanese might wear a kimono just a few times in their lives. But wearing one is a memorable experience.

Sumie Kaneko, a singer who plays the traditional Japanese instruments koto and shamisen, often performs wearing flashy dresses made of recycled kimonos. The idea of sustainability is deeply rooted in Japanese culture, she says, noting that the ivory and animal hide used in her musical instruments are now hard to obtain.

She calls it “the recycling of life.”

“The performer breathes new life into them,” says the New York-based Kaneko.
“In the same way, a past moment — and those patterns and colors that were once loved — can come back to life.”


Scottish Fashion Seeks New Talent for Homespun Crafts 

Members of staff work at the Alex Begg mill in Ayr, southwest Scotland, on January 15, 2026. (AFP)
Members of staff work at the Alex Begg mill in Ayr, southwest Scotland, on January 15, 2026. (AFP)
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Scottish Fashion Seeks New Talent for Homespun Crafts 

Members of staff work at the Alex Begg mill in Ayr, southwest Scotland, on January 15, 2026. (AFP)
Members of staff work at the Alex Begg mill in Ayr, southwest Scotland, on January 15, 2026. (AFP)

Far from the glamor of fashion weeks in Paris, Milan and London, a nondescript cashmere mill on Scotland's western coast that supplies luxury labels hopes local training programs can attract new talent.

"It's a dying trade," 61-year-old Maria Wade said of her job as a "greasy mender" at Alex Begg, a semi-rural mill that has been based in Ayr in southwest Scotland for more than a century.

The weaving mill supplies cashmere to prestigious fashion brands, which cannot be named for confidentiality reasons, as well as its own luxury label, Begg x Co.

"You don't get many people mending raw cashmere," said Wade, whose role is to meticulously inspect and darn any defects in the fabric by hand, before it is washed, cut and shipped around the world.

Famed for its luxury tweeds, wools and cashmeres, Scotland's textile industry has seen a sharp decline in recent decades as high manufacturing costs struggle to compete with cheap production abroad, and an ageing workforce retires, taking traditional manufacturing skills with them.

When technical transformation director Lorna Dempsey joined Alex Begg more than 25 years ago, the average age was "quite old", she told AFP, "about 50-plus".

Since then, the company has made a "conscious effort to try and recruit younger people" and brought the average age down to around 40.

It's no easy task in the run-down former mining town, with those interested in fashion careers looking to places such as Glasgow, around an hour's drive away, or even further afield.

"We don't have a lot of skills within the Ayrshire area, so it's very difficult for us to try and find skilled staff," said Dempsey.

The rise of fast fashion has made it harder to find young people with manufacturing know-how.

"A lot of our operations are definitely a skill from the past," said Dempsey, adding that people don't learn how to "darn their socks anymore."

- 'On my doorstep' -

The mill's partnership with the King's Foundation -- a charity founded by King Charles III and headquartered in the nearby Dumfries House estate -- has helped turn things around.

The foundation runs programs aimed at addressing "a skills gap within the UK textile industry".

Trainees learn about production lines, supply chains, working with different materials and sustainable design -- skills that employers say are often not covered in fashion school.

They are then given work experience at Scottish mills such as Alex Begg, and some like Emma Hyslop manage to secure a job.

Sat behind a fringing machine at the mill, Hyslop, 28, deftly ran a dark cashmere fabric destined for a Spanish luxury brand through its frame, twisting the ends of the cloth into fringes.

After getting a fashion design diploma at a Glasgow college, Hyslop did a six-week course with the King's Foundation, through which she discovered the luxury mill in her backyard.

"I had no idea about the place beforehand, and it's on my doorstep," said Hyslop, from south Ayrshire.

"We're actually quite a hidden gem," said Dempsey.

"So it's our job, our legacy, to keep bringing people through our manufacturing businesses, and keep bringing the skills alive again."

- Heritage skills -

The mill currently has four apprentices and is hoping to add more this year.

Dempsey also gives talks to local primary school children with the King's Foundation.

It is an issue close to the king's heart, with the British monarch attending Thursday's opening of London Fashion Week and meeting apprentices "supporting heritage skills and sustainability" -- including students on King's Foundation programs.

Nicole Christie founded her own sustainable women's luxury brand, Ellipsis, after completing a textile program at Dumfries House in 2020.

Entering luxury fashion in Scotland is "difficult", said Christie, with other major brands usually based in London or other European cities.

"At one point, leaving university, I did think that I would have to move down south," said Christie, who instead decided to build her brand in Glasgow.

"I'm really proud that I'm doing it here, and I really hope one day that I'll actually be able to give other people opportunities."


London Fashion Week Opens with Tribute to One of Its Greats

London Fashion Week will pay tribute to iconic designer Paul Costelloe who died in November, and had been a stalwart of the British captial's catwalks since the show was launched in 1984. Niklas HALLE'N / AFP/File
London Fashion Week will pay tribute to iconic designer Paul Costelloe who died in November, and had been a stalwart of the British captial's catwalks since the show was launched in 1984. Niklas HALLE'N / AFP/File
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London Fashion Week Opens with Tribute to One of Its Greats

London Fashion Week will pay tribute to iconic designer Paul Costelloe who died in November, and had been a stalwart of the British captial's catwalks since the show was launched in 1984. Niklas HALLE'N / AFP/File
London Fashion Week will pay tribute to iconic designer Paul Costelloe who died in November, and had been a stalwart of the British captial's catwalks since the show was launched in 1984. Niklas HALLE'N / AFP/File

London Fashion Week, better known for nurturing new talent than for its big-name shows, kicks off on Thursday with a tribute to one of its stalwarts Paul Costelloe.

The Irish-American designer, who died aged 80 last November, was a regular fixture on the opening day of the British capital's fashion week since the inception of the show in 1984, AFP said.

Over four decades, his romantic, sartorial catwalks remained a constant: witness to the rise and fall of London Fashion Week (LFW) which has seen the departure of big fashion names to its counterparts in Milan, Paris and New York in recent years.

His son William Costelloe is now the creative director of the brand, which wrote on social media ahead of its LFW Autumn/Winter 2026 opening show: "A new season. A powerful moment. A legacy moving forward."

Tolu Coker, a British-Nigerian designer who launched her brand in 2018, will also show on Thursday her elegant, mainly-unisex designs inspired by diverse identities.

Notable names including Harris Reed and Richard Quinn will return to the catwalk in London, with Burberry closing the week in its usual fashion on Monday evening.

Other labels will bring a royal flavor to the runway, with brands worn by Princess Catherine including Emilia Wickstead, Edeline Lee and Erdem putting on shows.

However, there will be no show from the breakout Northern Irish designer Jonathan Anderson, who was one of the most eagerly awaited at London Fashion Week in recent seasons.

The 41-year-old took over at Dior last June, leaving him little time for his own brand, JW Anderson, which he founded in 2008.

For several years, London has been losing ground to its star-studded rivals in Paris and Milan, but it has clung onto its role as a breeding ground for young talent.

The British Fashion Council's NewGen initiative provides funding for emerging talent, with several up-and-coming designers finding their stride at LFW through the incubator.

'Great support'

Designers like Simone Rocha, Tolu Coker and Roksanda have become fashion week mainstays after making their debut on the NewGen catwalk.

Among the recent breakouts is Joshua Ewusie, a 27-year-old British creator born to Ghanaian parents who is due to put on his second fashion week show with his brand "E.W.Usie".

The young designer was supported by the King's Foundation, a charity founded by King Charles III, in partnership with Chanel, which gave him a studio space shortly after he graduated from the prestigious Central Saint Martins school.

His hometown London, which boasts several notable fashion schools, provides "great support for young designers," Ewusie told AFP ahead of his LFW presentation on Sunday.

"There's so many opportunities, I think, that London gives to help young brands start," he added.

His new collection is inspired by the 1980s, when his mother moved to London, says the designer. It's all about culture and identity, with leather as the star material.

French designer Pauline Dujancourt, known for her work with knitwear, also chose to stick with London Fashion Week after her studies at Paris's Ecole Duperre and Central Saint Martins in London.

"As much as Paris Fashion Week is incredible and I'm dreaming to be part of it one day, maybe there's a bit more room for younger brands in London at the start," said the 31-year-old designer, who will show her collection on Sunday.

"I think people have come to London Fashion Week expecting to see a bit of newness and younger generations as opposed to Paris and Milan, where it's more like established houses."