LaKeith Stanfield’s outfit made Oscar history


Rare is the red carpet where a single glance sums up the whole event. But gaze upon fresh auburn-haired Lakeith Stanfield in a Saint Laurent jumpsuit with a plunging V-neck and a white point-neck shirt. It was super ’70s, with Stanfield’s belted waist, broad shoulders, and dagger-point collar. But it was also extremely fluid. A little racy. Very sexy. He looked hot, weird, and charismatic. Best Supporting Actor for his work in Judas and the Black Messiah, he looked like an artist. He also looked awesome. It was like a treatise on the general state of the masculine style: this is what is happening here, now.

If the genderfluid styles of the past have been glamorous statements, like Billy Porter’s velvet tuxedo dress in 2019, Stanfield was more subtle, which is a good read for the play, but it was also a more provocative use. of fashion. “I wanted to express who he is as a person: someone who is just as caring as he is playful,” explained his stylist, Julie Ragolia, in a text message. Saint Laurent designer Anthony Vaccarello’s spring 2021 women’s collection “stuck with me,” she said, and they decided to adapt one piece, a slim jumpsuit reminiscent of the eponymous designer’s penchant for jackets. safari, for Stanfield: To balance the formality of such a spectacle, that special nomination for LaKeith and the seriousness of the times we all live in, coming up with such a look was just thoughtful, yet festive. Ragolia also noted that the look was done with durable materials.

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It was also an interesting new chapter in the fashion history books, like an Easter egg for the growing number of social media-loving fashion historians watching at home. The Genderfluid style derived from feminine forms is the way of the moment. But it’s not as new as it often sounds: Yves Saint Laurent’s most famous look, his famous “Le Smoking” look, was a men’s tuxedo adapted for the women’s runway. Stanfield’s look resembled an inverted Le Smoking – sampling from sample. He resold the tuxedo to men as a tool for female empowerment. Or, maybe even better, like a crossed garment with some sort of feminine sex appeal: “Go ahead and look, baby,” her outfit seems to say.

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But even without that little bit of history, the sexy tenure was clear. Before I recognized the feminine look, I thought Stanfield somehow looked like a combination of Brad Pitt and his date Gwyneth Paltrow circa 1996: Pitt’s sleazy unbuttoned look smashed with the white chiffon tank top dress by Paltrow. Stanfield clearly doesn’t have any acting insecurity, at least when it comes to fashion. The men’s fashion revolution taking place on catwalks, in the music industry and in men’s wardrobes has been slow to hit the red carpet. But Stanfield assures us that at least a few of his ranks have timed what is going on.

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