The fashion writer Charlie Porter has always been a compulsive reader of the language of clothes, his eye drawn irresistibly to the colour of a stranger’s coat; to the cut of their suit or the logo on their trainers. “I think everyone’s a bit like that,” he says. “We all do it, all the time. Clothes are information. A policeman’s uniform tells you what he does. If you feel threatened or out of place, it’s often clothing that gives you this sense first. But because I’ve worked in fashion, I suppose I’m particularly attuned to it.” Is the sartorial ticker tape in his head a bit exhausting sometimes? “Not exactly.” He laughs. “But the pandemic has given me quite a nice rest from it.”
I meet Porter, the author of an eclectic but invigorating new book about artists’ clothes, in the public garden at Arnold Circus, near his home in Shoreditch, east London – and, naturally, my first question has to do with his own look. Never mind his painters and sculptors. What is he wearing today? Porter regards himself as “quite a mess, usually,” but yes, he admits to having put some thought into his look this morning. “This is by Craig Green, a young London designer,” he says, of a heavy cotton jacket in Yves Klein blue that’s decorated with mirror work. Opening it, he reveals an off-white artist’s smock from Labour and Wait, hipster purveyor of all that is functional, from aprons to watering cans, which he favours for the freedom of movement it permits as well as for its “space-age” collar. This is matched to a pair of striped trousers whose provenance he can’t quite remember. Finally, there are his loafers, which are Gucci and about 15 years old.
Porter, who is 47, has always loved fashion. As a teenager, he would travel to London from his home in rural Northamptonshire, and rifle the bargain bin at Sign of the Times, the cult club-wear shop in Kensington. “I had this T-shirt by Big Jesus Trash Can that had angels in gas masks on it – I used to wear it all the time.”
But his new book was born (initially, at least) of frustration with fashion as much as of fondness for it. “Fashion writing is often seen as fluff – and sometimes it is. But I always felt it was a way of writing about other things, too: the economy, psychology, society, communication, desire.” In fashion journalism, the industry sets artificial limits; those who report on it are, by necessity, obsessed with trends. But most people’s wardrobes have more to do with their emotional life than with some neverending quest for novelty. “Some clothes are utilitarian,” says Porter. “Some are sentimental. Some have to do with the community to which a person belongs, or wants to belong. Hopefully, my book speaks to these things. It’s not interested in best-dressed lists, or in so-called icons, even though many of the artists in it are famous.”
Why choose artists, though? Is this because he believes their aesthetic sensibilities are more finely tuned than our own? “No, it’s more that artists are better able in their lives to have a deeper understanding of clothing. Most people have to dress a certain way – or we feel that we do. In our working hours, we’re not in real communication with our clothing. We might even feel negatively about them: we might hate our jobs, we might feel constricted. Artists are a good case study because, alone in the studio, they’re freed of those outside forces.” The characters in his book – it is populated by the likes of Frida Kahlo and Andy Warhol, as well as by less well-known names – are, he believes, liberated in a way that we’d all like to be, if only we had the opportunity (or the courage). “Fashion is cruel to those who are older,” he says. “Which is mad because the population is ageing and older people don’t just stop being engaged in clothing or interested in what it can do for the body. But in my book, you’ve got Louise Bourgeois, who doesn’t meet Helmut Lang [with whom she becomes great friends, and whose clothes she wears] until she is in her 80s.”
Bourgeois stands a little apart from some of his other subjects for the reason that she loved fancy, expensive clothes. “The Easton Foundation has preserved her house in New York exactly as it was in her time,” says Porter. “It’s extraordinary. There are these two rails of clothes, one in the basement – it’s the kind of thing your dad would put up for you – and the other next to her galley kitchen, with its two-ring cooker and its greasy walls. The second rail is a fabulous thing, because it shows how much a part of her life her clothes were. They were there to be worn – even the tufted monkey fur coat she wore in the 1982 photograph of her by Robert Mapplethorpe, which shrank in the wash.”
On this rail, Porter found, somewhat to his excitement, a tuxedo coat by Lang that had been made for the model Stephanie Seymour to wear in his spring/summer 1999 show, in Paris. But whether flashy or not, for Bourgeois clothes were also repositories of memory. “She wrote again and again that she couldn’t bear to part with them,” says Porter. “In the end, she started using them in her work. A van took them all to her studio – an extreme action for her, the cutting of a chord – and this marked the beginning of an incredibly creative period in her career.”
Some artists use clothes like a uniform, the better to free their minds to think about other things – and, perhaps, to make themselves instantly recognisable. “That’s definitely the case with Joseph Beuys,” says Porter [the German artist, famed for his happenings and installations, spent the last 25 years of his life in the same thing: a felt hat, a fisherman’s jacket, a white shirt and blue jeans]. “But with Gilbert and George, who always wear heavy tweed suits, it’s more to do with enclosure and regimentation. It makes for a contrast to their work, a contradiction that delights them.”
The young David Hockney, on the other hand, used his look – the opposite of a uniform, even his tank tops and ties gave him the air of a charming, overgrown schoolboy – to signal his sexuality. “In fashion, he is so often mentioned as a style icon,” says Porter. “But that’s not why he wore the clothes he did [arriving in London from Bradford as a student in 1959, Hockney favoured bright colours; he also dyed his black hair blond]. He belonged to this new wave of postwar working-class people who could peg out their own territory. Queerness in the 20th century had always been very upper class – a bit foppish – because only people with a certain income could afford to live above the law. But Hockney was from an activist family, and his father was also a man who used to stick polka dots on his bow tie. Hockney’s clothes were his way of saying: ‘I’m gay.’”
For a moment, Porter looks at my long, striped wool scarf, which is also brightly coloured. “The other thing is that people give themselves pleasure and comfort by putting colour in their field of vision.”
But it’s the chapters of his book devoted to female artists that make for the most fascinating reading, their clothes liberating them by giving them permission to be different in a world where everyone else is in twinsets and pearls: the painter Agnes Martin, in her spattered overalls and quilted jackets; the sculptor Barbara Hepworth, in her boiler suits. “Hepworth chose clothes that would enable her to work outside in the cold and protect her from the stuff that was flying around as she made her sculptures,” says Porter. “But it was self-conscious, too. She always looked fantastic.”
In 1944, at 41, Hepworth wrote to her friend, Margaret Gardiner, of her desire to find clothes better suited to how she felt on the inside. “The average older woman’s clothes are appalling,” she noted. “We have to evolve some personal style that is an inspiration to ourselves… evolving the personality in clothes is very important and so difficult now.” Porter relishes this letter, not only for the way it sets out how she’ll dress in the next decades (elasticated waists, zipped jackets, slacks, flat shoes), but also for the small signs of embarrassment (“this all sounds a bit silly”) she reveals at taking an interest in such things. “We still find it difficult to talk about clothing in an honest way. We fear doing so is trivial, superficial.”
Other female artists in the book use clothes as part of their practice. Porter writes of Sarah Lucas, and the work she has made from worn-in Doc Martens and old tights; of Anthea Hamilton, whose performance piece The Squash, staged at Tate Britain, involved a faceless character in a squash-shaped helmet made in collaboration with fashion house Loewe, and 14 different costumes.
“Clothes are very important in my work,” the artist Cindy Sherman tells him (disguised in wigs, heavy makeup and costumes she finds in thrift stores, she takes on multiple personas in her outsize photographs). “They play a major factor in giving clues to a character’s personality.”
Most fascinating of all is Lynn Hershman Leeson, a performance artist who in 1973 transformed herself into an artwork called Roberta Breitmore, a woman whose life she would live for the next five years. Roberta wore the same clothes every day: a patterned dress and a brown and cream cardigan bought in a sale for $5.99 (the tag remained on the clothes, visible to everyone she met). The piece was about the “trap” of the female experience 1970s America – though ironically her alter ego gave Leeson herself a new and thrilling freedom (“I had a lot of clothes,” she tells Porter in his book. “Too many clothes.”)
Porter, whose parents are both artists, read philosophy at King’s College London. He did work experience at Vogue. Then worked at the Guardian, GQ and the FT, where he was menswear critic until 2018. But he thinks he’s probably done with that world now (having finished a novel, he hopes to write another book about fashion). “I’d said everything I wanted to say. Flares! They were so exciting the first time around. Then you come to realise flares often follow a couple of seasons where there have been tighter jeans. You learn all the tricks of it.” There is, he feels, too little space – commercially, and on the page – for young designers now; too much emphasis on celebrity. But this isn’t to say he feels any less strongly about fashion’s importance. “If someone talks about an era, often the first thing they mention is clothing. It’s a way in. It always will be.”
When he was at college, fashion was exciting: designers such as Alexander McQueen and Hussein Chalayan were breaking through, and those who wrote about them had, he insists, a certain “intellectual rigour”. Porter mourns those days now, and worries, too, about where the internet will take fashion. But he believes things are also changing. People are thinking more about where their clothes come from and where they’ll go when they die. For his part, he is determined to wear as many of his old clothes as he can, for as long as he can (hence the ancient Gucci loafers).
The chief beneficiary of his years on the front row is the V&A, to whose costume department he has so far donated 82 items. “If you’re lucky enough to work in fashion, I think it’s important not to be involved in avarice or covetousness,” he says. “The V&A had almost no contemporary menswear when I went to see its storage facilities – just a few bespoke shirts. So I got in touch, and asked if they would be interested in some of the things I’d collected down the years.” He smiles. “Yeah, I’ve a got a cabinet in the galleries there now,” he says. If his voice is wry, it’s also tinged, ever so slightly, with pride.
What Artists Wear by Charlie Porter is published on 27 May at £14.99. Buy a copy for £13.04 at guardianbookshop.com
Fashion school students around the world are preparing to enter an industry that’s rapidly changing. There are courses to pass, design prompts to ace, runway shows to prep for and professional connections to make. And over the past year, they’ve had to navigate it all under Covid-19 restrictions. In our series, “Fashion School Diaries,” those students give us a firsthand look into their day-to-day lives. Here, we meet Benjamin Spencer, a 2021 Savannah College of Art and Design Accessory Design B.F.A. graduate.
I’m not sure if it’s too early to call Benjamin Spencer a designer to watch, considering he just graduated from SCAD, but the 24-year-old is doing some pretty remarkable things with footwear design. For his senior collection, he worked with thermochromic dyes that change color in response to temperature.
“The changing of colors represents the different emotions people feel throughout the day,” Spencer writes of the sculptural collection, which is titled “Metamorphosis” and was inspired by his own mental health struggles brought about by the pandemic.
Spencer has already been getting industry recognition. Christian Louboutin selected him as a finalist for the Hyères Festival, for which he will present in France this October. He was also one of nine out of 400 designers awarded a $15,000 grant by the Swarovski Creatives for Our Future program, which he plans to use to “continue [his] research of thermochromic dyes and how to merge them with bioplastics, grown materials and other sustainable textiles to create footwear and other products.” Finally, he won Melissa’s Melissa Next competition and is now in the process of collaborating with the Brazilian shoe brand on a product that will be sold in stores.
After presenting his collection in SCAD’s virtual student show and graduating, Spencer took some time to reflect on his early love of shoes, his years at the Georgia design school, the challenges and silver linings brought about by the pandemic and his lofty career ambitions.
“I grew up in a small farm town playing sports and being active outside. I was always interested in shoes, from collecting to drawing shoes I saw in magazines and designing my own. However, I never really thought that it was possible to go into the fashion industry, coming from a small town in Missouri. I always just thought of fashion as a hobby rather than a real career possibility.
“Before transferring to SCAD, I studied engineering at another university for two years. Engineering is considered a practical and successful job where I’m from, so I decided to pursue it. After a year of studying, though, I knew being an engineer wasn’t the career path for me. My parents started pushing me back toward my passion of designing shoes. We started looking at universities that offered accessory design as a major, and when we finally visited SCAD, I fell in love. SCAD not only offers a program that allowed me to study footwear design, but the program also taught pattern making and sample-making, which is something that many of the other universities didn’t This is how I knew that SCAD was the place for me.
“From my time at SCAD, what I will remember most are the relationships I built, both with my professors (who I know will encourage and support me even after graduation, and I plan on staying in touch with throughout my career) and with my peers, whether through friendships or being a part of the same industry. I see myself staying in touch with many of the people that I met and collaborated with during my time at SCAD and I hope we will work together again as we embark on our careers in the industry.
“When designing, I always start with a story. What story do I want the product to tell, or how do I want the consumer to feel when they first see the product and then wear it? After I create the story behind the piece, I start researching silhouettes that will help to tell the story best. The story and silhouette research generally lead me into what type of textile development will be used on the shoe. However, the order of all of these steps are interchangeable and sometimes will change depending on what type of inspiration is coming to me in the moment.
“As many know, the pandemic caused everyone to take a step back and reevaluate the important things in life. It also caused us to reevaluate how we work and the restraints we had been placing on ourselves, whether that was needing an office to go into or thinking that the only way to make shoes was by having a sewing machine and a bunch of industrial equipment. The pandemic allowed us to journey back to when we were children and all we had was our imagination to let us run wild.
“The pandemic also impacted internships that would have occurred during the summer of 2020 and the vital experience that students would have gained. I had been accepted to intern with Ralph Lauren, but due to the pandemic the internship was adjusted to be virtual. I gained so much from the experience, even though it was virtual, and feel honored to have had the opportunity to work with the Ralph Lauren design team. But since I was at home, it gave me the time to search for other ways to be creative and focus on my designs. I ended up setting up a studio in my garage with one of my best friends, as well as working for a start-up company focused on making protective head coverings.
“I also embraced the challenges of not having access to a sewing machine and the typical equipment necessary to produce shoes. I used this time to experiment with different methods of making shoes using two- and three-part molding techniques.
“Over the last year, the biggest challenges for me were mental health, the loss of loved ones and feelings of uncertainty brought on by the pandemic. When researching my concept for my senior collection, I knew I wanted it to be relevant to what was currently occurring in the world. I toyed with different ideas surrounding the pandemic, but the story that felt most natural and closest to my heart focused on the conversation of mental health. Mental health is something that I have struggled with throughout my life and something that I have always hid and been ashamed of. By creating a collection solely focused on the study of mental health and the changing of emotions, it not only gave me a platform to bring awareness to different aspects of mental health, but it was also very therapeutic, allowing me to feel more comfortable speaking about my own struggles.
“My senior collection is titled ‘Metamorphosis.’ ‘Metamorphosis’ is a reflection of the rise in mental health issues that have occurred due to the pandemic, loss of loved ones, seclusion and financial instability. The collection takes inspiration from different animals’ physical characteristics and how they change in regard to the emotions they are feeling. Thermochromic dye is used throughout — they allow the color of each shoe to change in relation to the temperature of the environment the shoe is in. The changing of colors represents the different emotions people feel throughout the day. ‘Metamorphosis’ is meant to question what is truly ‘normal’ and let people know it’s okay if they feel like they’re different, because being different is what makes each and every one of us special.
“After developing a concept I felt strongly about, I knew the main focus of my collection would be on innovation in textile development. I wanted my materials to reflect different animals’ textures and I knew I wouldn’t be able to achieve this using traditional materials. I spoke a great deal with my professor, Michael Mack, and a fibers senior, Kathryn Sours, about different materials that could potentially be used to achieve the effects I was looking for. From there, I worked to create dozens of material swatches using liquid rubber, resin, leather, thermochromic dyes and pretty much anything I could get my hands on until I had a core of materials I felt strongly about.
“After deciding what type of textile development I was going to use, I began creating silhouettes. The process that I used was much different than previous processes, because I was focused on creating brand-new silhouettes. My goal was to create shoes that were wearable, but made people question what the parameters of a shoe could actually be. I began focusing on merging different objects together, such as crystals and a human heart or jellyfish and a teapot, to create brand-new silhouettes.
“Because of the experimentation I was doing with my silhouettes and textile development, there was a lot of trial and error involved in the creation of my collection. There wasn’t a single shoe where everything went perfectly according to plan, but that made the process exciting.
“When creating the initial concept for my collection I was really focused on how I would be able to present the collection to showcase the color transformation of the shoes and tie the theme of changing emotions together. I knew I wanted to have a video or a live art installation; however, with the pandemic, I decided to solely use video to portray the collection. I partnered with a few SCAD students to help me showcase my final collection: Malia Acuri (B.F.A., fashion merchandising, 2021), who art directed the collection shoots, and Melissa Chilson (B.F.A., film and television, 2021). In collaborating with Malia and Melissa, I was able to bring the vision behind the collection to life. SCAD has really taught me to value cross-disciplinary collaboration, and my openness to work with other students to showcase my collection made the presentation all the more impactful.
“It was always exciting for me getting to show my peers and professors the thermochromic dyes in use for the first time. Seeing a shoe completely change colors in front of your eyes is not something that many people have seen before, so there would always be lots of confusion and excitement on their faces.
“Now that I’m done, I’m proud of how my collection turned out. There will always be ways to improve upon it, but I’m excited to see how I can move forward with everything I learned at SCAD.
“I’m very excited to display my work in SCAD FASHION 2021. By displaying my collection virtually, the possibility increases that people all over the world will see my work. This allows for greater access and visibility, so that brands and other designers can view my work.
“Being recognized by two prestigious organizations such as the International Festival of Fashion (Hyères Festival) and the Swarovski Creatives for Our Future Program has been a great honor for me, and I couldn’t have done it without the support of my professors at SCAD who encouraged me to submit my designs for these global competitions and championed me along the way.
“After graduation, I plan on focusing my time toward working on the Swarovski Creatives for Our Future Grant and the Melissa collaboration. I will also be dedicating time to building my brand, Thomas Benjamin, and my first collection that I plan to release in 2022. I’m also searching for a full-time design position within the luxury fashion industry.
“When speaking about where I see myself in the future or my ultimate career goals, people always tell me that my head is in the clouds. When I tell them that one day, I will be the creative director of one of the top French fashion houses, they tell me, ‘But you study footwear design.’ When I tell them that one day The House of Thomas Benjamin will continue on for generations to come, they laugh or act like I’m crazy. But what those people don’t see are the hours and hours spent working on my craft and the dedication I had to learning from the very best professors and mentors at SCAD. I grow each and every day, always push myself and am never okay with where I am – I always strive for more and to be more. These goals I have for myself aren’t going to happen overnight and there are also many smaller steps I must take before I can get to the finish line, but one thing I always have known is that when someone says I can’t achieve something it pushes me even harder. Some would say my self-belief is naïve, but to those people I say: You can’t achieve if you don’t believe.”
By Megan Reedlinger June 8, 2021, 5:22 AM Pacific Time
The CMT Music Awards have always provided memorable fashion moments. In honor of the 2021 show on June 9th, Wonderwall.com revisits what we’ll never forget … starting with this classic look … Taylor Swift’s style has evolved dramatically since then. But do you remember when she was drawn to a fairy-tale-inspired look ?? A country-turned pop singer-songwriter was decorated with strapless sequins at the 2007 CMT Music Awards. Wearing a fairy tale, you will be here. It was Taylor before fashion evolved to wear the signature ringlet of the time! Continue reading to see the style of the CMT Music Awards, which has been more memorable for many years …
Related: Best Photos of 2020 CMT Music Awards
Dierks Bentley dressed up like a pilot at the 2014 CMT Music Awards, riding on the success of the hit “Drunk on a Plane”. We love good costumes!
Related: Country Music Star Wives
Expected singer Mickey Guyton didn’t get enough of this translucent glowing gown on the red carpet at the 2020 CMT Music Awards. She welcomed her first child, son Grayson Savoy, a few months later in February 2021.
Carrie Underwood looked perfect in this colorful dress that showed off her toned legs at the 2016 CMT Music Awards.
“Modern Family” star Sarah Hyland attends the 2020 CMT Music Awards. — With bold and adorable coordination by Georges Hobeika. From stunning baby pink short-sleeved crop tops to cutout-covered lilac skirts and ridiculous black ribbons, this is one of the unforgettable looks.
Can she be more chic? At the 2015 CMT Music Awards, Nicole Kidman chose this head-to-toe look by Balenciaga. I don’t know what we like more, such as the decoration of her peplum top or the perfect fit of her cigarette pants. This was the winner of our book!
Let’s talk about cute couples! Maren Morris and her husband and singer-songwriter Ryan Hard have appeared on the red carpet with a look coordinated at the 2019 CMT Music Awards. Maren wore a Faust Puglizi edgy cream mini dress, featuring a cutout and gold decoration around the abdomen, and Ryan a cream suit with a burnt orange button-up. I chose.
Kristen Bell, who moderated the 2012 CMT Music Awards, wore this Reem Acra Fall ’12 gown decorated with gold sequins.
You may not notice her, but yes, this is really a vintage Miley Cyrus! The star, then 15 years old, attended the 2008 CMT Music Awards and never chose today. I was hiding in a floral dress.
Baby hump and Thomas Rhett? What more do you want! Country Crooner embraced his wife Lauren Akins’ grown-up belly at the 2017 CMT Music Awards. The event took place one month after adoption and just two months before Lauren gave birth.
Remembering doesn’t always mean good, right? Billy Ray Cyrus shocked us all when we unveiled this terrifying hairstyle at the 2016 CMT Music Awards. There is no excuse for this bad choice …
Kacey Musgraves has become casual at the 2013 CMT Music Awards. The singer-songwriter wore a daisy duke, an American flag tank, a denim jacket, and unique blue cowboy boots.
If you live in GTL, you don’t need a shirt on the red carpet! I wonder why he was there, but “Jersey Shore” star Mike “Situation” Sorrentino attended the 2010 CMT Music Awards in his own style.
Let’s talk about throwback! Blake Shelton wore a gray shirt under her vest to complement Miranda Lambert’s silver sequin dress at the 2010 CMT Music Awards.
Kid Rock appeared at the 2011 CMT Music Awards with a must-have trucker hat, jeans and T-shirt. His red, white and blue buttondowns (snapdowns?) Were also prepared to express further patriotism in country music Cindig.
Who wore it better? Reba McEntire and Kenan Thompson matched with a green flock at the 2010 CMT Music Awards!
Michelle Monaghan has added heat to the 2019 CMT Music Awards with a statement black leather and red suede look from Dundas’ Fall 2019 collection. To complete her fiery look, the actress put on accessories with Eddie Parker’s red clutch and Giuseppe Zanotti’s black heel sandals.
But that shirt! Jake Owen unveiled this floral button-up at the 2010 CMT Music Awards.
Gina Garsion became full denim at the 2005 CMT Music Awards in a zippered jumpsuit with a metallic concho belt and a leather and feather bag.
Taylor Swift played “Red” at the 2013 CMT Music Awards. The country star of the time sang on a red guitar, wearing flowing frocks over small black shorts designed by Joseph Cassel. She also added black La Duca boots on the heels for a pretty important moment on stage.
Snoop goes to the country! Snoop Dogg made the best impression as a cowboy at the 2008 CMT Music Awards, wearing a 10-gallon hat, button-up shirt and dark duster coat.
In 2017, when Carrie Underwood sparkled with this glittering sweet mini dress from Elie Madi, one of her favorite things at the CMT Music Awards happened. I like the iridescent sparkle of the frilled skirt and the sparkling details of the long sleeves on the top half of the frills. She perfected her looks with strap heels and a cool messy ponytail.
Taylor Swift has made our list again … and of course! Before she moved to pop music, Country Darling was at the 2007 CMT Music Awards in a worm-colored gown with a dramatic train. Appeared in a gown. Of course, she completed the look with the signature ringlet of the time!
We love these good baby bump moments at the 2017 CMT Music Awards. Pregnant Brittany Kerr emphasized her growing curve with a black studded fringed gown, and her husband Jason Aldean dressed casually in jeans, a T-shirt and a button-down shirt.
Hillary Scott showed off her curves at the 2014 CMT Music Awards in this cute black and white striped dress with red flowers. That thin black belt was a nice touch!
This ensemble, worn by Nicole Kidman at the 2011 CMT Music Awards, plagued our heads: from the skin-colored slips under the dark sheath to the unfit green bodice, clashing. Everything was unlucky, up to the Periwinkle sandals. Keith Urban, on the other hand, looked like a typical great self in a suit in a casual unbuttoned shirt.
vision! At the 2012 CMT Music Awards, Jordin Sparks was impressed with this pink chiffon dress by Kevan Hall. From the waist to the delicate off-shoulder sleeves, Jordin looked incredibly romantic.
At the 2015 CMT Music Awards, Danielle Bradbery made a considerable statement in a bold beaded metallic mini dress. She completed the intricate gold look with pulled back ponytails, smoky eyes and neutral sandals.
Kristen Bell hosted the 2014 CMT Music Awards, and that night the actress wore several different outfits, which is The gorgeous strapless black dress with delicate silver details by Monique Lhuillier definitely stood out.
Nico Tortorella takes bad fashion to the next level at the 2018 CMT Music Awards. The “young” star appeared in this tan velvet suit-without a shirt, and in a cowboy hat. He also looked like a pukashell necklace layered with other necklaces, and shiny black. Added a pair of boots.
Shania Twain looked amazing in a black dress that fits her body at the 2011 CMT Music Awards.
Three award-winning Kelsea Ballerini, including the Night’s Video of the Year at the 2020 CMT Music Awards, turned her head in this shimmering silver mini dress. The huge sleeves seemed a little overwhelming, but she definitely made a statement!
“Pitch Perfect” actressBrittany Snow, who co-sponsored the 2015 CMT Music Awards with Erin Andrews, was on the red carpet for the movie. Structured black and white gown by Monique Luillier. Combined with her side-swept hair, pink lips and sandals with black straps, Brittany looked chic.
We worship Kane Brown, but his view at the 2018 CMT Music Awards was terribly overwhelming. He appeared in a Canadian black tie. He paired a denim jacket with torn jeans. He then added a black T-shirt and gray sneakers, which made him a little too casual to set up the award show.
When Gretchen Wilson appeared at the 2006 CMT Music Awards, she wasn’t just starring. She has arrived. The country star swept the red carpet with this tiny, glittering crop top, paired with torn jeans and a studded belt.
At the 2019 CMT Music Awards, Sheryl Crow unveiled a super-bohemian coordinated look that we loved. From the subtle decoration of her floor-length skirt to the overall color palette of the ensemble, Cheryl looked like a beach goddess at the awards ceremony.
Jana Kramer wore this Michael Costello gown and soaked the red carpet in the pink sea at the 2014 CMT Music Awards.
I still remember Taylor Swift’s azuki mini dress at the 2010 CMT Music Awards. Up-and-coming country stars of the time wore this stylish John Galliano Flock for the Big Show, paired with matching strap heels and smooth straight hairstyles.
Major color pop! Cassadee Pope wore this Theia combo (a full, bright pink skirt paired with a crop top with a similarly flashy pattern) at the 2014 CMT Music Awards.
Remember when graphic prints were considered a mega-on trend? LeAnn Rimes! At the 2010 CMT Music Awards, LeAnn chose this geometrically patterned strapless blue dress. She completed the look with statement earrings that matched the thick gold cuffs.
A tank top with a duck pattern? Yes, certainly, there aren’t many red carpet events where this is within the reach. Brantley Gilbert wore jeans and boots at the 2014 CMT Music Awards.
RaeLynn has always offered whimsical and fun fashion, and dresses at the 2014 CMT Music Awards were no exception. The country singer rocked a pale mint tutu dress and bright yellow shoes for a big event.
This lingerie-like mini-dress style was popular in the late 2000s, and Sarah Evans moved away from the usual style and locked this slinky purple number at the 2008 CMT Music Awards.
Remember when Carrie Underwood appeared at the 2010 CMT Music Awards? We were definitely disappointed with the hot pink shades and black connection decorations.
Faith Hill unveiled Gothic Glamor at the 2008 CMT Music Awards. The country queen was all black and shiny at the festival of the year.
Hillary Scott made the gray carpet stare at the 2017 CMT Music Awards. We featured Lady Antevelum singer’s black gowns dotted with multicolored stars and moon, long sleeves and thigh-high slits. She used Swarovski drop earrings as an accessory. , Made one of the coolest looks of the year.
Just as Mike “Situation” Sorrentino was confused about appearing at the 2010 CMT Music Awards, we were confused by the appearance of Nicole “Snuki” Polizzi on the red carpet that same year. The “Jersey Shore” star rocked a glittering mini dress and her trademark pouf at a country event. We didn’t know these “shore” kids were crazy about country music. did.
Karen Fairchild in Little Big Town wore this pale blue mini dress and looked like an absolute vision at the 2020 CMT Music Awards. What did we especially like? The draping details are gorgeous!
Kelsea Ballerini has chosen to add a new twist to the style of the 2018 CMT Music Awards crop top and pair it with Brandon Maxwell’s wide leg pants to lock the glittering spaghetti strap top. We loved the unique interpretation of the two-piece trend, but could have lived without the addition of weird trains.
Lauren Alaina was impressed with this magenta Theia design at the 2017 CMT Music Awards. We loved the smooth off-shoulder cuts and the distinctive colors that matched the carpet!
At the 2006 CMT Music Awards, Lisa Rinna appeared on the red carpet with this sultry turquoise number. From satin to steep halter necklines, this gown was definitely a show stopper.
Singer-songwriter Jenny Tolman appeared on the red carpet at the 2019 CMT Music Awards and looked like a graceful princess in this stunning floor-length one-shoulder dress. From voluminous layers to a cream and light pink color palette, Jenny looked like a dream.
I’m not sure what Elizabeth Cook was aiming for at the 2010 CMT Music Awards. The singer wore jeans and a tank top on the red carpet, but was covered with a large coat to accentuate the printed lining on the inside.
Actress Kate Bosworth attended the 2019 CMT Music Awards in a mermaid-inspired teal sequined gown. That same year, she starred as an unhappy housewife in a “Sugar Court” video from Little Big Town, which hosted the show that year.
Impressive Looks at the CMT Music Awards-Crazy, Wacky and Exorbitant Fashion | Gallery
Source link Impressive Looks at the CMT Music Awards-Crazy, Wacky and Exorbitant Fashion | Gallery