fugging it up

The Fug Girls Track the Fashion Evolution of Michelle Williams

Photo: Steve Granitz/WireImage, Jason Merritt/Getty Images

Ten years ago, the idea that Michelle Williams — then known primarily as the girl on Dawson’s Creek who wasn’t Katie Holmes — would have three Oscar nominations under her belt seemed as inconceivable as Joey Potter marrying Tom Cruise. And yet here we are, gleefully anticipating what Williams will wear on February 26 when she attends the Academy Awards yet again as a nominee for Best Actress (all while we also wonder whether Mrs. Cruise is having any regrets or what-if tremors). Exactly how, or when, did the girl get from Capeside to Chanel couture? We won’t lie: The road was long, and often colorless. Join us as we stroll down a Michelle Williams memory lane. Bring a hanky; those Brokeback days still wring us out.

Why: The premiere of Halloween H20 – which came out the same year she debuted as Dawson’s Creek’s ill-fated Jen Lindley, the bad girl who would steal the heart and forehead of the titular Leery. What: Oddly, Michelle’s first red carpet appearance of note has echoes of the character for which she’s been gracing it lately: There is (albeit not in a good way) a Marilyn vibe to the short curly coif, the red lip, the slinky satin, the marabou, and the sleepy eyes. Maybe she was actually sleepy, or else surely she’d have noticed the dress mangling her body like a stubborn tube of toothpaste.   Photo: Steve Granitz
Why: The Emmys, although it seems fervently optimistic that the WB sent anyone there. What: Michelle has a fondness for neutrals that apparently started early. This may not exactly fit her chest, but when you consider that both Jesse Ventura and The Rock attended the same event shirtless, Portia de Rossi sported knee socks, and Jennifer Aniston was modeling dreadlocks, suddenly this seems practically polished. Photo: Frank Micelotta
Why: Events for If These Walls Could Talk 2 What: Well, the hair and makeup woes are curing themselves, but Michelle still hasn’t figured out fit. The white dress is baggy, overlong, and overwhelming, while the black outfit looks like it shrank in the wash. Also, these slideshows prove history will chronicle the turn of the century as a truly bleak period in footwear.  Photo: Robin Platzer
Why: The now-defunct Blockbuster awards, which we wish would come back, because apparently nobody in the world ever looked good there. What: Fun fact: This dress sparked a run in dryer sheets and static guard. By which we mean, it did that just now, when seeing it reminded us to add them to our shopping lists.  Photo: SGranitz
Why: The Women in Film Lucy Award ceremony. Yes, an award ceremony. What: We wonder which Lucille Ball (the award’s namesake) would have disliked more: Michelle subtly honoring her era with a massive visible bra that could have been ripped right from an I Love Lucy dresser drawer, or her wearing mangy flip-flops (we are still massaging our dropped jaws). And speaking of comedy, it’s a crying shame this trio never made a buddy sitcom about a girl and her twin leather-clad bodyguards whose pant rises are as high as their prices. Photo: Kevin Winter
Why: A celebration of Dawson’s Creek’s 100th episode What: This — although a bit mature for a 22-year-old, especially with those shoes — nevertheless feels like a success in comparison to everything that came before. It’s flattering, classic, and, best of all, doesn’t make us reflect nostalgically on how weird the early aughts were for everyone. Indeed, with a few alterations, she could pull it off today without anyone cocking a brow. Photo: Tom Kingston
Why: The National Board of Review and the SAG Awards, both of which Michelle was attending as a cast member of The Station Agent. What: Michelle was brunette for her part in Land of Plenty, in which her character takes a job at a homeless shelter in the slums of Los Angeles and works to return the body of a murdered Pakistani youth to his family. So, a laugh riot. She certainly looks more depressing as a brunette. It was nice of her to try livening up that SAGs frock with her boobs, but the other outfit makes us wonder if she just came from dropping off her redheaded baby on the steps of the Hudson Street Orphanage.  Photo: Jeff Vespa Archive
Why: A pre-Oscar party — not, fortunately, the day of the Oscars, or else she’d have to be arrested retroactively. What: Nowadays, we wish Michelle relaxed into jeans on the red carpet occasionally — going casual is almost unheard of for her anymore — but perhaps not with this level of shlubby commitment. She looks like the mousy look-alike roommate who is one act and a dye job away from going full Single White Female. Photo: Jeff Kravitz
Why: The Venice Film Festival, in support of Land of Plenty What: Hark! A color! Unfortunately, it appears to have made her so uncomfortable that an itching spree left it tucked into the waistband of her undies. This is why celebrities need girlfriends who aren’t also on their payroll. Where’s Busy Philipps when you need her? Photo: Franco Origlia/2004 Getty Images
Why: Events for The Brothers Grimm and Brokeback Mountain — the first time we saw Williams in maternity formalwear. What: The black and white is no surprise, although we didn’t know you could sew a bump sling into satin. But that cranberry confection is so unlike the Williams we know today; she hardly ever whips out the décolletage, much less the hue. It’s a tad perilously boobalicious, but it’s hard to deny that she looks lovely, and harder yet to deny that our tear ducts are suddenly feeling a little prickly. Photo: SGranitz
Why: Promotional events for Brokeback Mountain What: One of the many tragedies of Heath Ledger’s death is how much more playful Williams seemed when they were together, with a liveliness that now seems to have left her entirely. So while these aren’t great outfits — those shoes with the flapper getup are one furbelow too far — they hint at a spirit within that we miss in her. Also, now we’re sad again. Photo: Patrick Riviere/2006 Getty Images
Why: Michelle was nominated for Best Supporting Actress at both the Golden Globes and the Oscars for her role in Brokeback Mountain. What: Ew, these are horrib— no, just kidding. We can’t even finish that joke. Michelle knocked it out of the park here. The purple Golden Globes dress is texturally fascinating and unusual on her while still being flattering and fun. The yellow Vera Wang is possibly the best she has ever looked, anywhere, and is arguably one of the most beloved Oscar dresses of the last decade. We can only hope she decides to revisit the concept of color at this year’s ceremony. Photo: Kevin Winter/2006 Getty Images
Why: The Brokeback awards dominance continues, here at the SAGs and the BAFTAs. What: Between the riotous hues at the Globes and the Oscars, Williams backtracked to her safe haven of black and white. Luckily, both these dresses have enough interesting details and innate charm to keep us smiling — although the black BAFTA gown looks a bit like something you might see, and we would in fact secretly love to see, in a very upscale, glamorous Western. You know, Fancyback Mountain. Yeah, we went there. (Sorry.) Photo: Vince Bucci/2006 Getty Images
Why: The Whitney Gala What: Oh, Michelle. That’s not a dress. It’s a skirt, at best, but more likely a tribute to both Granny’s old hankies and the spirit of recycling. Blow your nose on it and change. Photo: Rabbani and Solimene Photography
Why: The Independent Spirit Awards What: This was the perfect outfit with which to debut her then-new Mia Farrow cut — it’s funky, it’s retro, it’s eye-catching, and we want one even though that lace panel looks a tad like she sneezed on a dickey. Her confidence and charm here are great accessories. Photo: Frazer Harrison/2007 Getty Images
Why: Cannes, in support of Synecdoche, New York What: We’d note that Michelle’s purple gown might be a little twee — bows and ruffles, you know — but who can even look at her when Catherine Keener is standing there wearing the Houndstooth Suit That Ate the South of France? Considering that this Cannes trip was Michelle’s first foray back into the public eye after Ledger’s death in early 2008, we’re both impressed she went as bold as she did, and suspect she’s probably okay with someone else drawing more focus. Photo: Sean Gallup/2008 Getty Images
Why: Cannes, and premieres for Wendy and Lucy and Synecdoche, New York What: Now you can tell why we freak out so much when Michelle drops a color bomb. The Synecdoche dress gets a modern assist from the booties, and the lovely vintage-looking Daisy Buchanan gown makes us wonder (a) why she isn’t in The Great Gatsby, and (b) whether she can sue Carey Mulligan for damages. But that droopy satin sack is unconvincing as anything but a repurposed fitted sheet (down to the matching bedhead).  Photo: Sean Gallup/2008 Getty Images
Why: Independent Spirit Awards What: If we may briefly set aside our Cranky Old Crones personae and be girly for a sec: This is so cute. Over the years, Michelle adopted a bit of a Mod sensibility, and this graphic example really suits her. It’s essentially modest, which she seems to prefer, while still being young and leggy. Photo: Frazer Harrison/2009 Getty Images
Why: Cannes What: These skip bad altogether, veering straight from good to ugly. Dangling a little sequined minidress in front of us is like flashbulbs to a Kardashian, but the pink satin drape is inexcusable. It’s so awful, we would actually applaud if she confessed she spilled orange juice on her actual gown and tore this off her hotel window to MacGyver an alternative. Photo: Francois Durand/2010 Getty Images
Why: The Venice Film Festival What: This silhouette — crew neck, column gown, sleeves — seems like it must be a security blanket of sorts, as Michelle has trotted it out numerous times in recent years. We’re torn: Her hair and makeup are great, and conceptually it’s really appealing, but we can’t escape the feeling that the dress is a hair too tight and festooned with a white tulle bow ripped off a First Communion gift. Photo: Pascal Le Segretain/2010 Getty Images
Why: London Film Fest What: Michelle was in the midst of filming My Week With Marilyn here, which explains the whole platinum hair/dark eyebrows combo — and we’re glad she has an excuse for it, because the effect is otherwise awfully harsh. In fact, the whole thing is confusing. It’s great that she tried to veer sassy rather than bland, but somehow, even with all that lace and color and the leopard shoes, it still gives off a slightly dowdy vibe. Ms. Monroe would not approve. Photo: Samir Hussein/2010 Getty Images
Why: The Golden Globes and the Academy Awards, where once again she was a nominee — this time for Blue Valentine. What: Look at it this way: No matter what Michelle wears to the Oscars this year, it’s bound to be better than the daisy-covered disaster she sported at last year’s Globes, right? Something so floral should not also be so depressing. Also depressing: her beaded, pale Oscar gown. It’s objectively lovely, but as a part of her specific wardrobe and sartorial story, it’s so similar to other things she’s already worn — most notably, her gown in Venice six months prior — that it feels a bit predictable and stale. Photo: Jason Merritt/2011 Getty Images
Why: The Met Ball What: We like that Michelle brought in a little metallic edge here; we just wish she hadn’t also brought it to her face. The gown is a very flattering, elegant silhouette that deserves a bit less competition from her bronzer. However, at an event where we usually dine out on people’s deliciously bizarre fashion risks, we have to cheer her for refusing to don a gown that would eat her delicate features alive. Photo: Stephen Lovekin
Why: The New York Film Festival What: Michelle busted out a little extra cleavage for this start to her My Week With Marilyn circuit — what better time, right? — and there is an ethereal quality to the dress that matches the elusive aura she herself emits nowadays. But per usual, the color scheme veers into Naptown — that mildly minty hue doesn’t do enough to convince us that this isn’t just the 80th verse, same as the first. Photo: Dimitrios Kambouris/2011 Getty Images
Why: The Critics’ Choice Awards, and a BAFTA pre-Golden Globes event. What: Hey, if Michelle’s going to insist on wearing black and/or white, at least these black-and-white numbers are flattering and graphically interesting, especially the belted gown she sported at Critics’ Choice. Bonus points for the great new Mia Farrow hair color — strawberry blonde is tremendously pretty and warm on her. That hit of color on her head gives her entire look more life.  Photo: Christopher Polk/2012 Getty Images
Why: The Golden Globes, where Michelle won Best Actress for My Week With Marilyn. What: Hmmm, where have we seen this silhouette before? It seems so very familiar. That complaint having been registered — more than once — the purple and pattern are truly lovely on Michelle, and for all our whining, we far prefer her tweaking an old favorite shape rather than swerving into Gaga territory and showing up in, say, a sequined Hefty bag with boob holes or dress made of Lunchables. Photo: Kevin Winter/2012 Getty Images
Why: The SAG Awards What: Our only beef with this look is that when your dress is designed to feature the shoes, you’d better do more than cheap-looking dyed-to-match sandals. It’s a thud at the bottom of an otherwise delightful appearance; thank God Michelle didn’t slip back into the black-and-white trap again. Though we’ve repeatedly grumbled about her repetition, we actually think her tendency to modesty is refreshing. Matilda Ledger is never going to look at photos of her mother and think, “Ew, I wish you’d put it away, Mom,” and with a career as long as Michelle’s has been and likely will be, there’s something to be said for that.  Photo: Kevork Djansezian/2012 Getty Images
The Fug Girls Track the Fashion Evolution of Michelle Williams