It is awards season in the film industry, which means a proliferation of red carpet fashion reports over the coming weeks. Female actors’ ensembles tend to receive the most attention, with certain garments attracting as much (or more) coverage as their wearer’s nominations. Consequently, red carpet fashion reportage has sometimes been criticised for its apparent focus on style over substance, and in recent years activists have attempted to shift the emphasis from what female actors are wearing to what they are achieving. For example, the #AskHerMore campaign was established in 2014 to encourage red carpet reporters to question female actors about more than their fashion choices.
It can certainly feel frustrating when female actors are asked solely about their appearance, especially when their male peers receive a wider variety of questions. Red carpet fashion coverage is further problematised because it is connected to the objectification of women as dressed bodies. Close-up, panning footage of a red carpet dress focuses as much on the wearer’s body as it does on the construction of the garment, and fashion-related questions and headlines can quickly become inappropriate or offensive with regards to female actors’ bodies. Feminist criticism of such reporting practices is thus highly relevant in Hollywood’s current climate.
However, not all criticism levelled at red carpet fashion coverage is concerned with the treatment of female actors; sometimes it is based on a notion that fashion is not newsworthy. If coverage of awards ceremonies and nominations is news, coverage of red carpet fashion is still viewed as unimportant by some. Yet, while ‘worst dressed’ listicles or questions about underwear can make the topic of red carpet fashion appear ridiculous, serious coverage of actors’ fashion choices is as relevant as ever. Linked as closely as it is with identity politics, for instance, fashion has an enduring relationship with red carpet protests connected to wider movements. From Ginger Rogers’ donning an economically-cut, American-made dress in an act of wartime solidarity at the 1941 Academy Awards, to the all-black ensembles worn on red carpets in support of the Time’s Up campaign, actors have always known the significance of fashion in the film industry and beyond.
Moreover, the dismissal of red carpet fashion reports as irrelevant has the same undertones of sexism as inappropriate questions about female actors’ appearances. The historical association of women with fashion is long and unrelenting, with the fashion industry (including fashion journalism) still largely focused on women’s wear and catering to female consumers. Red carpet fashion reports can thus all too easily be undervalued as ‘women’s interest’ pieces, especially when they are published alongside coverage of nominations and awards in the male-dominated film industry.
In light of recent criticism of red carpet fashion coverage, some have suggested that it is no longer appropriate to discuss fashion on the red carpet. This sentiment is understandable, but it is also somewhat facile. Outdated approaches to reporting can only change if red carpet fashion continues to be a topic of conversation.