Lights! Camera! Fashion!

When it comes to dressing for an event like the Primetime Emmy Awards, anyone can look beautiful and glamorous. So says designer David Meister, whose form-fitting strapless eggplant gown was worn by Tina Fey last year as she swept onto the stage three times to pick up Emmy statuettes.


“It has to do with color and fabric, the silhouette and just with feeling great,” he says. “Certainly, on Emmy night, the last thing you need to worry about is whether your dress is in place.”

Meister is one of a legion of designers who have made a name for themselves on the red carpet, an arrivals event that— while labeled a pre-show— is the main affair for many
fashion insiders. With the rise of fashion coverage on the internet, red-carpet couture has quickly escalated into a high octane media frenzy that can literally introduce a young designer to the world in a split second.

“I’ve been doing this for eighteen years, and in that period of time, interest in red-carpet fashion has grown tremendously,” notes Susan Ashbrook, whose company,
Film Fashion, matches designers with celebrities to create that one-of-a-kind fashion statement. “The internet has increased that interest tenfold, and for many fashion designers, this is a perfect way to get noticed.”

Yet finding that perfect fit — of designer and star — is not easy. “Our designers start very early,” Ashbrook says. “In June, they are already designing in preparation for the Emmys in September.”

And, while the economic downturn has hurt many in the retail fashion world, the market for one-of-a-kind garments (with price tags ranging from $5,000 to $30,000) continues
to flourish on the red carpet.

Ashbrook likens it to the days of the Great Depression, when studios often dressed their stars in furs and diamonds when they appeared in public.

“People needed that escape, they wanted to see their stars looking glamorous.”

With celebrities of all shapes and sizes, tailor-made gowns are often the best option. “For couture design, my main goal is to enhance the most beautiful part of a woman’s body, taking into consideration her style, personality, age and any special requirements,” explains Georges Chakra, a Lebanonborn designer based in Paris whose creations have graced the red carpet on the likes of Tyra Banks, Queen Latifah and Marcia Cross. “I also can turn certain imperfections to an advantage by working on a design that suits her body shape.”

Jenny Packham, a British designer whose long list of red carpet clientele includes Alicia Keys, Debra Messing, Eva Longoria and Elizabeth Hurley, finds unique advantages in designing for such iconic personalities. “Most celebrities are experts in their own body image and style and have ideas of their own. They love to be daring and unique whilst
maintaining the silhouettes that they know will make them look fabulous. This makes designing
for them very rewarding.”

Of course, working with celebrities has its particular challenges. Public image and personal style must be carefully considered. “I collaborate with the celebrity and her team to
narrow down her preferences and suggest looks that fit her character,” says Chakra.

Last year he custom made a red satin gown with sleeves intricately laced with Swarovski crystals for Helen Mirren to wear at the Oscars. “The process generally starts with my suggestions. I draw many sketches and include fabrics and color options they can consider.”

So what’s in store for fashions at this year’s Primetime Emmy Awards? For Chakra, he predicts bursts of bold color tempered by structured cuts.

Meister concurs. “We will see more strapless, more structured dresses,” he affirms. “Usually at the Emmys, you see a lot of bright color — nothing too fall-like, as the weather is usually very hot.”

Packham, on the other hand, anticipates a softer, more feminine look: expect chiffons and frills — strapless and ethereal.

Either way, it is clear that less can be more — don’t look for an abundance of sequins or crystals. The days of the embellished gowns are over, replaced by a cleaner, minimalist aesthetic.

“Most designers want the gown to complement the celebrity, not eclipse them,” Ashbrook explains. “These women want the dress to be memorable, but they don’t want to look like a Christmas tree.”

All of this careful consideration is done, of course, in the hopes of attaining a little taste of true perfection (or as close as one comes to perfection, anyway), striking the delicate balance of high-octane glamour and sophisticated refinement, and resulting in a spot-on red carpet look.

“Everybody knows it when it’s a ‘wow’ moment,” Meister muses. “The perfect combination of hair and jewelry…you notice this person and she looks amazing — that’s the sign of a good designer.”

—Ilana Berger