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Sat, Jun 06, 2009
The New Paper
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Who's the fashion Determinator?

Terminator Salvation is all about the war between man and machine.

But on the red carpet, we're seeing actresses Moon Bloodgood and Bryce Dallas Howard battle it out as they promote their new film around the world.

Half-Korean, half-Dutch-Irish Bloodgood, 34, plays a tough-as-nails resistance fighter pilot.

New mummy Howard, 28, scored the more passive role as the wife of the movie's hero John Connor.

Even though there's always an eventual victor at the end of any Terminator movie, we're going to declare this fashion face-off a tie.

[Scanned photo: TNP]


1. Howard took an early lead in Los Angeles by turning up in something totally unexpected and totally fearless.

Her futuristic Marios Schwab multi-coloured mini-dress is miles away from her usual demure style.

It's a space-age marriage of tulle, clear sequins and patterns, and really sets off her red hair, alabaster complexion and curvy figure.

She accessorised with a matching beaded clutch and nude Christian Louboutin peep-toes.

2. Bloodgood sparkled in her sexy strapless black Reem Acra gown, and the red belt is a playful touch.

But minus points for the sheer panel of the skirt which exposes - gasp! - what looks like lace-trimmed Spanx underneath.

What a way to cheapen the almost-elegant look.

3. Yes, nude is the colour du jour this season - just not THAT nude.

At the Paris premiere, Howard wastes whatever goodwill from Los Angeles in this flowy tiered halter gown from Sonia Rykiel which makes her appear quite naked.

She'd look completely washed out if not for the Azzedine Alaia python flat sandals and outstanding red lips.

4. What a comeback - Bloodgood just looks bloody good here.

The self-confessed tomboy cleans up nice and one-ups her competition in an ice lilac one-shoulder Emanuel Ungaro Resort silk-chiffon draped gown and sophisticated up-do hairstyle.

Even though it's a soft direction, Bloodgood still manages to ooze confidence, toughness and sex appeal.

This article was first published in The New Paper.

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