Theatricality on the Red Carpet
Words by Rebeca Ravara
eds. Mistral Zerbi
There is a certain glamour embedded in the concept of a red carpet – one that few people have managed to surpass with their own individuality. Red carpet fashion, as such, has always had performative roots. From being used as a symbol of royalty in the past to gaining its iconic status as a part of Hollywood Glamour, the red carpet is representative of status, charisma, and talent. Many designers have attempted to recreate or represent this blurred line between costume and couture on the red carpet. Alexander McQueen’s dress for Lady Gaga at the MTV Music Video Awards in 2010, for example, happened to emanate her glamour as much as it was a perfect precedent to a night that made music history.
However, an actor that I think ideally respects the extravagance between the red carpet, fashion, and theatricality, is Emmy Rossum; specifically, her promotional looks for the 2004-2005 premieres of her movie The Phantom of the Opera. Indeed, I believe that her looks intentionally recall 19th-century opera’s opulence and, as a result, are a valuable case study on how costume design can influence storytelling on the red carpet.
Here is an etching from March 1832’s edition of the Bell’s Court and Fashionable Magazine, as can be found in the National Portrait Gallery in London. The left of the work showcases a typical dress worn for a night at the opera in the 19th century: the era in which the movie was set. There is an elegance about the flowing drapery, with the larger sleeves and skirt emphasising the tightness of the waist. The colours are muted and pale, appealing to both a sense of purity and providing a less distracting form of attire for the theatre. Satin fabrics are mixed with sheer ones, and floral symbols pervade the costume.
The softer, fluffier scarf is more decorative than functional, furthering the cultivated mix of textiles. The lady’s makeup is minimal, focusing on highlighting the subtle pinkness of the cheeks and lips as a way of appearing healthy. Her hair is parted to highlight her tight curls whilst leaving the rest pinned up, though it is covered with various adornments showing her worldliness and fashionability.
If we are to take this as a staple of operatic attire, we must then compare it to the costuming for Rossum’s Phantom of the Opera before analysing how these foundations of style assert themselves on the red carpet. Below are three stills from the film, demonstrating Christine’s (Rossum’s character in the film) character development from purity and innocence to self-assurance and confidence:
Her initial silhouettes (those on the left) very much appeal to the traditional operatic attire of the century: hourglass shapes with flowing drapery and a certain modesty. Paler colours with floral motifs and adornments can be found in both costumes as well. Rossum’s makeup in the film also echoes what is seen in the etching – pale makeup with an emphasis on the cheeks and lips, though by the end of the movie, this is heightened to a much bolder eye and lip colour. Throughout all three looks, Rossum maintains her tight curlsEven so, there are multiple attempts to modernise this operatic style. The floral or star-shaped embellishments on the first dress are more minimalistic and less symbolic, or the cut of the second dress’s skirt being by her upper thigh; showing us that exposing that part of a woman’s body was certainly frowned upon. The last look is also significantly different, for the symbolic boost of self-confidence Christine gains by the end of the film. The colours are much darker and more powerful, albeit playing with the conventions of the time. The lace fabric choices and mixing of textiles are especially pertinent to the styles worn in the 19th century.
Consequently, Rossum’s character design in the film toys with the operatic attire traditions to further the film’s storytelling – but what proves to be more interesting is how this is reproduced in her promotional red carpet looks. Truly, Rossum performs Christine beyond the screen.
Above are pictures of Rossum at the film’s premiere in New York, Tokyo, and London, respectively. After having spent an embarrassing amount of time scouring the internet, I can confidently state that I have not found who Rossum’s designer was at the time, but whoever it was did a magnificent job at curating these red carpet moments as an extension of the film.
In New York, Rossum wears an exquisite off-the-shoulder dress combining sheer and patterned textiles with a reflective silken cream colour. The flowing shapes of the sleeves are echoed in the rouche by her waist, providing an incredibly elegant silhouette. Rossum also wears a small and soft jacket, which I have interpreted to be a callback to the opera cloak worn as part of the dress code in the 19th century. These cloaks were to be fastened with a unique clasp around the neck, and subsequently, to me, this outfit resembles the influence of theatre and opera’s visual drama on contemporary fashion.
The Tokyo gown is equally remarkable. Bearing the same cloak as for the New York premiere, Rossum also has a minimalist cream satin dress. The colours of the satin and the cloak’s clasp are shimmering and reflective, as well as her pink lipgloss.
As such, these outfits are an excellent precursor to a viewing of the film. Compared to Rossum’s previous red carpet looks, these are much more minimalist and reflective of both the period of the film as much as creating an homage to a tradition of theatre-going. By wearing the colours that Christine bears in the film, letting her hair down and being as curly as it is in the film, Rossum extends her performance. In this way, the red carpet functions as a stage, further blurring the line between wearable art and performance.
Emmy Rossum’s most striking looks are a metaphor for how red carpets can become living canvases on modern stages. By invoking a certain theatricality, Rossum’s promotional style elevates fashion into a narrative device that bridges cinema, theatre, and high fashion.
When I see actors wearing similarly film-relevant outfits for movie premieres (like Zendaya’s Dune premiere outfits) I feel a certain gratitude that actors can recognise and extend their passion for the arts in all mediums. Accordingly, I am excited to see how future actors might continue to blur the boundaries between personal style and theatrical performance.