by Kate Young– Vogue
It’s always equal parts exciting and challenging to start awards season so soon after the Christmas holiday. (At least this time there wasn’t a snowstorm to delay my flight!) I always pack tons of backup looks for Golden Globes weekend, because you never know what could happen.
This year I dressed Rachel Weisz for the Globes. She and I have been working together for more than a decade, so it was a pretty straightforward process. I saw the runway version of her Celine by Hedi Slimane dress in the showroom in Paris months ago and thought it could be a perfect look for her. The white ruffles remind me of a ’70s kitten, which is precisely how I like to think of Rachel. The way it would frame her skin, hair, and shoulders just seemed ideal. A month or so ago, I called Peter from Celine’s press office and asked if we could make that look into a gown. We tried it before the holiday in New York and it looked absolutely magical.
At that point I started thinking about finishing touches. In my mind, a choker would give the dress a little cool-girl edge. That’s when I emailed Cartier. It confirmed it had one but said that I wouldn’t be able to see it until the Globes. I headed there directly after landing in Los Angeles on Friday. I was so excited when I finally saw the choker in real life. It was perfect.
On Sunday we got Rachel ready at the Peninsula in Beverly Hills, where they embroider guest’s initials onto the pillow—wow! The hotel is famous for its dim sum, so we ordered shrimp dumplings and chatted. I finally saw Rachel’s new movie, The Favourite (run to the theater if you haven’t seen it yet, as it will make you howl with laughter and pull your heartstrings), and asked her every pressing question about it.
Her husband, Daniel Craig, came to pick her up in the most stunning Tom Ford tuxedo and off she went! I headed straight to the fashion stylist and PR viewing party at the Sunset Marquis that Ryan Hastings, Elizabeth Stewart, and friends from Givenchy, Louis Vuitton, and Valentino’s press offices throw every year. We’re all nice about one another’s clients (at least out loud) and drink lots of Champagne and gossip. Adam Glassman, the creative director of O, joined us when he finished his broadcast, and when he looked around and said, “Without this room, there’s no red carpet,” of course we loved it. Then . . . finally to bed! One show down.