“This Is Us” star Mandy Moore muses on her fa­vorite awards- sea­son frocks.

Variety - - Contents - BY JASMIN ROSEMBERG

beauty and wardrobe are vi­tal tools in por­tray­ing Re­becca Pear­son from her mid-20s to her 60s. “This is a char­ac­ter who has suf­fered tremen­dous loss, had chil­dren, re­mar­ried, and I think she wears it all on her face and how she chooses to face the world,” Moore says. The Golden Globe-nom­i­nated ac­tress and singer loves switch­ing up her look on the red car­pet as well. 2016

The marigold color sold Moore on wear­ing this Pra­bal Gu­rung dress to the Em­mys — her “first awards show in a long time.” “I loved the breezy, floaty as­pect, es­pe­cially con­sid­er­ing it was an un­be­liev­ably hot day,” she says. Fin­ish­ing with a ’70s Parisian beauty look, Moore re­joined the awards cir­cuit feel­ing like “a gussied-up ver­sion” of her­self. Days later, “This Is Us” pre­miered. “We didn’t know much about [Re­becca] in the pilot, but I was drawn to this woman deeply in love with her hus­band, de­voted to be­ing the best mother she could be, and what­ever hap­pened from there, I was more than game for."


“‘This Is Us’ and I were both nom­i­nated, so it felt like a seize-the­mo­ment-type fash­ion op­por­tu­nity,” says Moore of these Golden Globes. Her navy Naeem Khan dress was the first op­tion she tried. “The flowy lay­ers of chif­fon and cape trail­ing be­hind made me feel [like] some sort of chic su­per­hero. The deep V was new for me, too, and I just felt em­pow­ered and wom­anly.” That the fresh­man show landed nods was mind-bog­gling to Moore, who con­sid­ers it cathar­tic — both an es­cape from life and an op­por­tu­nity to “feel it all” via the char­ac­ters.


Come Emmy time, when the NBC new­comer con­tended for best drama se­ries, Moore could tell from a photo that this Carolina Her­rera dress was “the one.” “Orig­i­nally we were think­ing of ask­ing them to make it in another color, but once we tried on the sam­ple, it was un­de­ni­able,” says Moore, who loved the dra­matic black and white lay­ers of tulle. She added Jen­nifer Meyer jew­elry, a swept-up hair­style and pink lips to com­plete the early fall look. “It was a whole lot of dress, but very much felt like the quin­tes­sen­tial ‘princess’ mo­ment," she says.


Since wear­ing black in sol­i­dar­ity with "our sis­ters and the Time's Up move­ment" was a key com­po­nent to the Golden Globes, Moore knew she wanted to "find a way to make it pop." With help from Moore’s stylist, Erica Cloud, de­signer Rosie As­soulin cre­ated a cus­tom gown, which didn’t fall right. “[So] on the day, we went with the orig­i­nal, all-black ver­sion that was never shown on the run­way,” she says. “The sam­ple fit like a glove, no al­ter­ation re­quired, and it was just in­stantly tex­tured and gor­geous and com­fort­able — not to men­tion strik­ing with the crisp red belt.”

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