The Oscars have evolved beyond just a celebration of films; they now double as a fashion event. Fans, designers, and the media all participate in observing and evaluating the outfits worn by Hollywood stars as they walk the red carpet at the annual awards show. Sometimes, a striking outfit can tell its own story. For instance, when actress Lupita Nyong’o donned a powder blue Prada dress at the 2014 Oscars, her status as an “It girl” was solidified almost instantly. Following this appearance, she was declared People magazine’s Most Beautiful Woman, became Lancôme’s first Black ambassador, and was featured on the covers of Vogue, Vanity Fair, and Glamour.
However, fashion was not always a dominant feature of the Oscars. In my book about the history of the Oscars red carpet, I identify two key figures who transformed the event into the fashion spectacle we know today. In the late 1940s, Hollywood was dealing with economic difficulties as more households began purchasing television sets, reducing movie attendance. The film studios experienced financial losses as they had to divest their cinema chains following a 1948 antitrust ruling. Financial problems persisted when, in 1949, the film companies refused to fund the Oscars after the event organizers, the Academy of Motion Picture Arts and Sciences, allowed British films to compete directly with American ones.
To keep the Oscars going, the academy sought temporary solutions. Faced with the possibility of canceling the ceremony due to financial challenges, the academy considered the pros and cons of broadcasting the event on television, seen as the main competitor to film. Eventually, in 1953, they made a deal with NBC to cover the event’s costs in return for broadcasting rights. Prior to television, studios meticulously managed the public image of their stars, and there was apprehension about how they would appear or act on a live broadcast. Moreover, many nominees were hesitant to appear since their contracts did not cover television appearances.
To address these concerns, the academy hired Edith Head as a fashion consultant to oversee the stars’ appearances. Head, the most famous costume designer of her time, had experience from the silent cinema era and was already a public figure through her promotional work at Paramount. Her job involved ensuring that everyone dressed appropriately, following the “decency and decorum” guidelines of the Code of Practice for Television Broadcasters. She also had to make sure that no two dresses were alike and that presenters and nominees wore outfits that looked good on camera and complemented the set. A significant aspect of her role was to promote fashion in media interviews leading up to the Oscars, referring to it as a fashion show.
“This is a very competitive night from a fashion point of view because, as I said, the stars are presenting themselves as themselves,” Head stated on one of her radio shows. “For me, as a fashion designer, the most exciting question is who will wear what.” The postwar growth of the international fashion industry encouraged Hollywood stars to showcase the latest works by European designers like Christian Dior, Hubert de Givenchy, and Pierre Balmain. However, by the mid-1960s, new fashion trends like miniskirts, shapeless dresses, pants, and bohemian styles challenged the formal attire of the Oscars and the feminine ideals favored by Head. In 1968, she felt it necessary to issue a reminder to young actresses of the event’s significance after actress Inger Stevens wore a mini dress to the ceremony in 1967. To Head, the ceremony was not a casual social gathering; it was a prestigious fashion parade.
In 1970, she emphasized the importance of formal attire when announcing the nominees for the Oscar for best costume design. She cautioned young actresses against wearing “the freaky, far-out, unusual fashions.” After Head stepped down from her position following the 1971 ceremony, celebrities began to push the limits of decorum, opening a new era of daring fashion choices, such as Edy Williams’ bold bikini outfits, Bob Mackie’s famous sheer designs for Cher, and Armani’s relaxed styles for Diane Keaton.
Fashion order was restored in 1989 when Fred Hayman, a Beverly Hills impresario, became the event’s new fashion coordinator. He took on this role at a time when fashion was becoming increasingly prominent. Rising designers such as Giorgio Armani, Thierry Mugler, and Gianni Versace, along with established brands like Louis Vuitton and Givenchy, gained attention. Supermodels were becoming as famous as actors and actresses, and cable television introduced international networks that focused entirely on fashion and celebrity culture.
Hayman seized this opportunity to promote Rodeo Drive as the West Coast’s luxury shopping hotspot. Beginning his career in the hospitality industry, Hayman transitioned to fashion in 1961 by investing in a friend’s boutique, Giorgio Beverly Hills, eventually becoming its sole owner. In 1989, he renamed his store Fred Hayman Beverly Hills after selling the Giorgio brand to Avon for his perfume line. Giorgio Beverly Hills catered to affluent clientele, offering clothing from various European and New York designers and brands. As the Oscars’ fashion coordinator, Hayman became the authoritative source for what to wear to the ceremony, drawing more celebrities, brands, and media interest to Rodeo Drive.
Building on Head’s media strategy, Hayman introduced fashion previews, which were press runway shows at the Samuel Goldwyn Theatre on Wilshire Boulevard to predict each year’s red carpet trends. Hayman’s efforts significantly advanced the Oscars’ fashion profile, encouraging luxury brands to establish flagship stores along Rodeo Drive. He remained in this role for ten years until he was succeeded by stylist L’Wren Scott for the 2000 ceremony.