A Berry Romantic Oscar Night

For some, it was a "Beautiful" Oscar night–Ron Howard’s A Beautiful Mind took home the coveted Best Picture and Best Director prizes, but fashionwise it was "Berry romantic" all the way.

The most moving moment of the 74th Annual Academy Awards came when Halle Berry won the top acting prize for Monster’s Ball. Making history as the first African-American woman ever to receive the Best Actress Oscar, Berry openly sobbed as she thanked mentors like Sidney Poitier and Warren Beatty. Her naked emotion was mirrored in a nearly nude maroon dress by designer Elie Saab. Sleeveless and sheer, with strategic embroidery covering the torso that Swordfish made famous, Berry again lifted herself above the battalion of actresses who wore black and led fashion’s triumphant return to romance.

Spring flowers were in bloom on the dresses of actresses who joined the romantic wave and swore off black, usually in favor of red. Style-setter Cameron Diaz went rather informal in pink pleated Emanuel Ungaro couture covered with red cabbage roses. Star of the upcoming Charlie’s Angels 2, Diaz sported a gypsy look with a jeweled scarf around her waist that she said her girlfriend made from Fred Leighton jewelry.

Best Supporting Actress nominee Kate Winslet radiated on the arm of beau-Sam Mendes with a romantic updo and a crimson one-shoulder gown with feather trim.

Other women in red included Sting’s wife Trudie Styler in a brocade kimono-inspired Jean Paul Gaultier, and Mulholland Drive star Laura Harring in a red-and-black Latin-flavored Armani.

Romance didn’t just come in red. Nicole Kidman, whose date was sister Antonia, looked angelic in ethereal white ruffles courtesy of Chanel. Former child star Kirsten Dunst, who’ll star in the summer flick Spiderman with love interest Tobey Maguire, looked all grown-up in a nude sequined John Galliano for Christian Dior.

Black was still big news, but this time it seemed more of a fashion choice rather than a sign of mourning after September 11. And these weren’t your typical little black dresses, but big, sweeping statements of Hollywood glamour. Oscar winner Marcia Gay Harden had fashion stylists drooling over her one-of-a-kind Oscar de la Renta ball-gown with lavish beading and voluminous skirt. First shown on the spring runways, de la Renta reserved his fantasy frock exclusively for Harden once she expressed interest. You can’t help but envy the royal treatment these Oscar celebs get whenever March rolls around.

Sharon Stone exuded black drama in a deceptively simple Versace that, when she was twirled around by co-presenter John Travolta, was shown to be cut seductively low at the back.

Other black beauties, who staved off boredom by not only exposing shoulders but also acres of well-toned back, included Renee Zellweger in Carolina Herrera, Naomi Watts in a laceup Gucci halter, Julia Roberts in a demure Armani with geometric cutouts, and Marisa Tomei in Jurgen Simonsen with trompe l’oeil flower pin a la Sex and the City.

Deserving special mention for his elegant black creations in sequins and lace was Valentino, popular among sexy young things like Reese Witherspoon and Sandra Bullock, while the designer of choice for the dignified set who preferred the look of impeccable taste was, of course, Giorgio Armani. His champions almost always include Jodie Foster, dazzling in a white jewel of a dress; Helen Mirren, also in white (Sissy Spacek should have taken a cue from this tres-chic lady); Maggie Smith in a black sparkly blazer; and, of course, men like honorary Oscar awardee Sidney Poitier, Best Actor Denzel Washington and bad boy Russell Crowe.

A sprinkling of new designers got the huge boost of being worn to the Oscars by a celebrity name, like Elie Saab (worn by Berry), Jur-gen Simonsen (Marisa Tomei) and Ozwald Boateng (worn by one of the evening’s sharpest-looking males, Will Smith).

Now for the fun part, and, I’m sure, everyone’s favorite guilty pleasure: Pinpointing the fashion misses. Gwyneth Paltrow, ever since her Best Actress win, has been disappointing in the Oscar fashion races, displaying a penchant for awful tank-top dresses that substitute grunge for glamour. This year, she wore a sheer black tank with laceup crosses over what looked like a garterized skirt, and raccoon eye makeup. Unless you told me, I’d never believe this outfit was by the once-brilliant Christian Lacroix. Paltrow looked like a misplaced punk ballerina, who at the very least should have worn a bra.

Then there was Jennifer Connelly, who won Best Supporting Actress (an award which should be rechristened the Ingenue Oscar) for A Beautiful Mind. Yes, she was wearing one of fashion’s top names, Balenciaga by Nicolas Ghesquiere, and yes, she’s one of the most beautiful actresses out there, but why do these beauties insist on hiding their assets beneath too-thin, overworked bodies and hideously unflattering outfits? With her beige scarf, droopy bust and raggedy hemline, Connelly seemed to be channeling little more than street urchin plucked straight from the alleyways of Les Miserables.

Jennifer Lopez’s gown–a pink Versace that seemed to be inspired by Madonna’s Blonde Ambition bustier–was above reproach, but her big ‘60s retro hair (shagadelic, baby!) wasn’t.

All in all, the glitz in this year’s Oscars seemed confined to the huge estate and vintage jewelry the stars were sporting. Diamond chandelier earrings swung from nearly every lobe, from Zellweger’s to Gay Harden’s to Mirren’s. Kidman accented her tiered gown with a multi-strand chunky crystal necklace wrapped around her milky neck. Laura Harring pulled out all the stops with a 77-karat diamond necklace that once belonged to Archduke Joseph, plus diamond-strapped Stuart Weitzman shoes that cost $1 million.

But whether they won or lost, most celebrities’ favorite accessory was still their family: Everyone brought either a mother, sister, husband or daughter. And in these uncertain times, a return to family values is always reason to celebrate.