Nicole Kidman Brings Businesswear to the Red Carpet in Oversize Saint Laurent Suit at Critics Choice Awards 2025
Nicole Kidman channeled boss energy for the 2025 Critics Choice Awards on Friday in Santa Monica, Calif. The actress, who was nominated as Best Supporting Actress in a Drama Series for her work in 'Lioness,' wore an oversize, businesswear-inspired suit from Saint Laurent's spring 2025 ready-to-wear collection.
Kidman's look consisted of a cream suit with wide-leg trousers and an oversize blazer. The suit was paired with a light blue striped button-down shirt and a navy polka dot tie, creating a classic contrast to the neutral suit. She accessorized with gold jewelry on the wrist and black pointed-toe shoes.
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Jason Bolden styled Kidman for the occasion. Bolden collaborated with Kidman during the entire press tour of 'Lioness' and 'Babygirl,' which was also released in 2024.
For her most recent red carpet appearances, Kidman dressed up in creations by Gucci, Jean Paul Gautier, Balenciaga, Dolce & Gabbana and more. At the 2025 Golden Globes, she wore a backless dress from Balenciaga's 52nd couture collection. At the 2025 National Board of Review Gala, the actress donned another backless gown, this time an archival velvet Jean Paul Gaultier ensemble.
Kidman has been a Balenciaga ambassador since December 2023.
The 30th Annual Critics Choice Awards takes place on Friday, broadcasting live on E! from the Barker Hangar in Santa Monica. The ceremony, originally scheduled for Jan. 12 and then Jan. 26, was postponed due to catastrophic wildfires in the Los Angeles area. Chelsea Handler returns as host for the third consecutive year, leading the star-studded event that celebrates the most outstanding achievements in film and television for 2024.
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Dickinson will speak Thursday at a ticketed event at the New York Historical, which will be followed by a book launch at the Maryland Center for History and Culture on June 17 and an appearance at the Frenchtown Bookshop in Frenchtown, N.J., on June 24. Reading McCardell's writing, transcribing McCardell's archival letters and 'triangulating' them to cultural events and geographic locations enabled Dickinson to hear her voice and visualize her life at that time. Esoteric as that might sound, the author manages to relay McCardell's upbringing, career, marriage and pursuits with historical footnotes and entertaining asides. 'I wanted it to feel like you were walking alongside McCardell and not like you were spending time with a biographer telling you about her.' Pragmatism was paramount to all that she did. Dickinson said, 'She always had the lived experience of the woman in mind so that everything she was designing had a reason. 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Fresh out of college with no idea of who McCardell was or that she was one of the reasons behind much of what hangs in our closets, Dickinson said, 'I knew very little about the sportswear movement, and the women like Claire, who in the 1920s and '30s, were really building American fashion. I remember standing there in a really unfortunate suit that I'd been talked into buying by a salesperson. We've all been there. It doesn't fit. It's not comfortable. The color is trendy, but it's not good on you. And it didn't have pockets,' she recalled. 'I remember thinking, 'How did we go backward?'' Moreover, Dickinson questioned how the industry appears to have slid back again with men being installed as the creative directors of luxury houses — including Dior, Chanel and Gucci. But back to McCardell. What hooked the author was how McCardell's show made her question what women are expected to wear, why that is the case and who is dictating those mandates. 'Whose gaze are we prioritizing? Claire always prioritized the female gaze, the wearer,' Dickinson said. The fact that women were 'pretty much required' to wear wool swim stockings on public beaches in the 1920s to avoid the seeming indecency of bare legs, was news to the author. McCardell's daringness, as a teenager, to take her swim stockings off to take a plunge endeared her to the author. 'I loved that she was trying to push back on things that she thought were unreasonable,' Dickinson said. Another revelation in her research was just how difficult it was for a young single woman to maneuver her way around New York City without a male escort. 'I was fascinated to learn how art clubs and other places [like the Fashion Group International] emerged to support women like Claire and how Claire, in turn, tried to help other women throughout her career to find their footing in the city and in the industry,' she said. Readers will learn how the designer was at the nexus of a constellation of a lot of extraordinary women and entrepreneurs [like Elizabeth Hawes, Eleanor Lambert and Bonnie Cashin]. 'This really is the story of a group of women working together to build an industry,' Dickinson said. 'She was often years ahead of her time. She invented separates in 1934 and she kept at it, so that by the 1940s she got them out there. As one person I interviewed said, 'She is one of the most under appreciated, but important designers of the 20th century.' McCardell also approached her collection tactically. So much so that she once deconstructed a Vionnet dress that she bought at a Paris sample sale in the 1920s to get a better understanding of how it was made. That was all the more telling, given that American design students at that time were learning more about how to draw clothes than how they worked, Dickinson said. McCardell's personal archives include reams of letters from not just fans, the famous and customers. Amongst them was a lengthy handwritten one in which the writer said a McCardell suit failed her during an Italian vacation that she had saved up to go on for years. Dickinson said, 'I think she saved it to remind herself, who she worked for. She surely went back to [review] the design, to the manufacturer and to the fabric to figure out how to fix it.' When World War II called for rationing, McCardell made the most of every scrap of fabric for her designs, and used innovative aspects like mattress ticking and parachute materials that were left over from the military, Dickinson noted. At the request of Harper's Bazaar's editors Diana Vreeland and Carmel Snow, she created a design for American women whose lives had been upended with some pitching in with the war effort while also running their households. The 'Popover' dress in durable cotton that McCardell came up with had an oven mitt attached at the waist. More than 50,000 units of the New York made frock were sold in 1942. The designer was also a witness to history, having been one of the last designers to leave Paris before it fell to German troops. She also connected with leaders in the arts like Ernest Hemingway, and the actress Joan Crawford, who 'begged' the designer in letters to make clothes for her. And the artist Georgia O'Keefe wore her clothes. At heart, McCardell was an artist and an inventor, according to the author. To that end, the designer once said, 'I've always designed things I needed myself. It just turns out that other people need them too.' 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