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Nomadland director Chloe Zhao (centre), with cast members Peter Spears and Frances McDormand (left) and producers Mollye Asher and Dan Janvey (right), posing for photos on April 25. Zhao went for an understated look at the Oscars. Photo: Ampas / PA Media / dpa
Opinion
Lunar
by Melissa Stevens
Lunar
by Melissa Stevens

Academy Awards’ Best Director Chloé Zhao: why her Oscars outfit was a feminist moment

  • Chloé Zhao’s 2021 Oscar moment was notable for her decision to not play the Hollywood game when it came to red-carpet dressing
The 1990s are widely recognised as the time when red-carpet dressing for women in Hollywood went into overdrive.

It was a development largely attributed to the rise of the celebrity stylist and the eagerness of fashion designers to leverage the brand exposure they gained by having one of their pieces worn by a star. But it must also be recognised that this “new normal” of celebrities decked out in catwalk-level couture at movie and music industry awards shows gained traction during the 90s backlash against second-wave feminism.

This backlash, a negative reaction to political and socio-economic gains made by the women’s movement in preceding decades, manifested in a number of ways – including in a new wave of unrealistic standards around female appearance.

Which is why it can be argued that Chloé Zhao’s 2021 Oscar outfit was as much a feminist moment as was her historic win.

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Chloé Zhao makes history as Nomadland wins three top awards at Oscars 2021

Chloé Zhao makes history as Nomadland wins three top awards at Oscars 2021
Nomadland, a story about a woman who travels America living in a van after losing job and home, won Best Picture and saw Zhao collect the award for Best Director. The Beijing-born filmmaker is the first Asian woman – and only the second woman ever – to win the Best Director Oscar.
To see a woman of colour win an award which has been dominated by men for decades was rightly hailed as a feminist milestone, another step forward in a country which gained its first female vice-president in Kamala Harris just a few months ago.

History-making wins such as Zhao’s are important as they are tangible and trackable – a benchmark to measure momentum or inertia on gender equality.

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But what was also notable about Zhao’s moment at the Oscars was an intangible – her decision to not play the Hollywood game when it came to red-carpet dressing.

While Hollywood’s male celebrities can saunter into awards shows in simple suits, it is the women of Tinseltown for whom a red-carpet appearance is strategised, in some cases, for months in advance.

From the negotiations around the selection of a designer gown, to loans of staggeringly expensive jewellery and weeks of facials and fasting, actresses are then critiqued as much for their appearance as their cultural contribution through their work.

In 2015, there was an attempt to highlight the gender inequality when it came to the attention on women’s appearance on the red carpet in the form of the #AskHerMore movement. The Representation Project aimed to acknowledge that there was an imbalance of power for women in entertainment, both on and off screen. Movie stars such as Reese Witherspoon were among the Hollywood heavyweights who called on journalists to ask actresses questions about more than their outfits at industry events.

“This is a movement to say we’re more than just our dresses,” Witherspoon said at the time. “We are so happy to be here and talk about the work that we’ve done. It’s hard being a woman in Hollywood, or any industry.”

But six years on, how much has it changed? Designer dresses were the order of the day even at 2021’s Covid-curtailed Oscars ceremony.

Carey Mulligan at the Oscars on April 25. Photo: Reuters

The show’s producers reportedly sent out an e-mail to this year’s nominees which included suggestions on dress code, saying they were aiming for a fusion of “inspirational and aspirational”. “Formal is totally cool if you want to go there, but casual is really not”.

Zhao’s response? She turned up in a relaxed Hermes gown, trainers, minimal make-up and her hair in plaits.

Her understated choices ensured no one could accuse her of not meeting the dress code, but also sent a strong message that while she was respecting the formality of the event, a fussy frock and hours in hair and make-up are not a necessity for a woman to be recognised for her work.

Melissa Stevens is the Post’s Digital Editor. Lunar is the SCMP’s women’s readership initiative which aims to celebrate and elevate women’s voices in Asia

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