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Larry King Live Weekend

Fashion's Famous Grade Oscar Celebrities' Appearance

Aired March 31, 2001 - 9:00 p.m. ET


LARRY KING, HOST: Tonight: Never mind who won this year's Oscars; it's who wore what. How did they look?

Joining us from New York to talk star style, designer Oleg Cassini. He dressed stars like Grace Kelly, Marilyn Monroe and Natalie Wood, as well as first lady Jacqueline Kennedy.

Designer Randolph Duke -- he dressed this year's best supporting actress winner Marcia Gay Harden and a lot of others.

Also in L.A., the man who helped stars put their best foot forward, shoe designer Stuart Weitzman.

The creator of the jeweled evening bags, the famed Kathrine Baumann.

Plus celebrity wardrobe stylist George Blodwell -- his clients have included Sharon Stone, Drew Barrymore and Catherine Zeta-Jones.

They're all next on LARRY KING WEEKEND.

Style and fashion was all the rage this week as the Oscars took place last Sunday night. And we thought it would be a good idea on this addition of LARRY KING WEEKEND to assemble five of the best in the business who each touched various areas. And we have introduced them.

Let's start with Oleg Cassini, who might be called the dean of all of this. He's in New York.

Why -- how did you get into the fashion business?

OLEG CASSINI, DESIGNER: How did I get in the fashion business?

Well, it started when I was 17. I was at University of Rome. I started my own studio in Italy. And my dream, of course, was at a time -- because of the fascist regime -- to leave Italy, and to come to America to meet beautiful people and become the designer of first ladies, and things like that.

KING: Do you know why, Oleg, that you wanted to design?

CASSINI: I wanted to design because I thought I had some ability. I had studied painting, but I had not succeeded in concentrating sufficiently. So I became a artist -- a commercial artist, which a designer really is. And I enjoyed it very much, because it gave me contact with people, beautiful women, and so on and so on. Because, I mean, there is nothing better -- second to a doctor, I think, a designer is the most important thing to a woman, particularly if she trusts him, and he designs for her especially.

KING: Randolph Duke, now you grew up around Vegas showgirls, right? Your mother was a ...

RANDOLPH DUKE, DESIGNER: My mother was. Yes. Yeah.

KING: Your mother was a showgirl in Vegas?

DUKE: She was. I have to echo exactly what Oleg said; that's exactly what it is. That's always been my credo, too. My first images for me were seeing my mother on stage from the light booth when I was a little boy, five years old. So I saw beautiful showgirls walking on stage in incredible costumes.

And, I mean, I wasn't sure what I wanted to be when I grew up, but suddenly at 17, I decided to go to fashion school. And next thing I know, I'm in New York making gowns and dresses. And ...

KING: Was there a Vegas school of fashion?

DUKE: There was not a Vegas school of fashion. There was -- I was studying ...

KING: Anything goes, right?

DUKE: ... to be a concert pianist. Anything goes, yeah.

KING: Kathrine, you were a runner-up for Miss America once, right?


KING: What -- how did you get into bags?

BAUMANN: Well, actually I was -- after being first runner-up in Miss America, I pursued a career as an actress. And I had walked into a plate glass sliding door and ended up with 272 stitches in my left leg.

So I looked at these people on the street, and I saw these women, and I said, "Oh my gosh, I could be just like them. I could be a bag lady." And today I am. I'm a Beverly Hills bag lady.

KING: But I mean, why bags? Why not dresses?


KING: Why not hair? Why not ...

BAUMANN: I wanted to be one of a few, rather than one of many. And I thought there was a lot of competition in the clothing industry; whereas with the handbags, I admired another designer once before by the name of Judith Leaver (ph). And I wanted to do something different and totally unique and...

KING: Was she a trendsetter -- Judith Leaver?

BAUMANN: She was the only one that did it. And she was the only one that did the jeweled minodiays (ph). But I wanted to take that and do it in more whimsical fashion.

KING: Later, we'll be showing you lots of examples of their work.

George, what is -- what do we mean by wardrobe stylist?

GEORGE BLODWELL, WARDROBE STYLIST: Wardrobe stylist is a person that's got an eye, and they will go and help celebrities or photo shoots to go out. When you're doing a photo shoot, you have a stylist there ...

KING: So you don't design yourself.

BLODWELL: I don't design; I choose.

KING: You're like an interior designer in a house.


KING: You don't design the couch, but you pick the couch.

BLODWELL: Yes. I pick the couch. My thing is all about choices, and making sure the choices are the best.

KING: And will the client let you -- will the client say, "OK, I -- go."


KING: "You want me to wear that, I'll wear it."

BLODWELL: A lot of the time, they'll do that. Sometimes we'll discuss it -- "Well, I don't think this is right," or, you know -- it's the way it is. Sometimes they'll let me just have free reign, or it's a collaboration.

KING: Stuart Weitzman, why shoes?

STUART WEITZMAN, SHOE DESIGNER: Why not? Women love shoes. And they buy many of them.

KING: I mean, but why did you ...

WEITZMAN: Actually, I ...

KING: I'm fascinated by this.

WEITZMAN: It's a family heritage. My dad was a shoemaker and a shoe designer. They were around me as a kid. I loved ladies' shoes. I loved high-heeled shoes. It fascinated me -- the architecture of them, the construction of them. And ...

KING: More than men's shoes?

WEITZMAN: Well, you guys don't buy enough shoes. Women buy about 10 times as many as men. So I'm a bit of a businessman also.

But ladies' footwear is very expressive. You can do anything. Like Randolph said about anything goes in Las Vegas; anything goes in footwear.

KING: But do people look down?

WEITZMAN: We're making them look down.

KING: I mean, people do look down?

WEITZMAN: The fashion this season is toe cleavage, Larry. It's ...

KING: Toe cleavage.

WEITZMAN: Absolutely.

BAUMANN: Toe cleavage? I love that.

KING: Never heard that term.

WEITZMAN: Kathrine will tell you it's true.

BAUMANN: I love it.

KING: I mean, you see two toes sticking out -- no.

WEITZMAN: You see -- there it is right there, toe cleavage.

KING: And it changes?

WEITZMAN: It does change.

KING: Shoes style, go out of style -- in all of your businesses...

WEITZMAN: That's right.

KING: ... do things go out of style.

WEITZMAN: We're in a sandal era, which allows for the toes to be shown. And it's an exciting way to accessorize.

KING: We're going to be seeing lots of examples tonight from Oscar night. We're also going to be discussing each of their work.

What makes -- Oleg, what makes a good designer? CASSINI: A good designer is a man that has to have not only creativity and flexibility; he has to be able to know history. He has to -- because the sources of inspiration so often come from ancient and very ancient history. So he has to be a jack of all trades. He has to be -- also, he has to have the manners. Because to deal with very important women is not always very easy. So it is essential to have certain characteristics: creativity, patience, devotion to duty, and love of women.

KING: Would all of you agree with that?

DUKE: That's right.


KING: Do you find it difficult, Kathrine, dealing with women?

BAUMANN: No, I don't.

KING: You're the woman dealing with women.

BAUMANN: Well, because I was an actress, I know what glamour is. And I've had my own premiers. And I think that the dress is imperative; it's like the skeleton. But you have to also add to it. There are appointments, like Stuart's shoes and my handbags. And it's not just the dress; it's the look that a stylist creates. And that's why they're so important.

KING: We'll be right back with our panel. We'll be showing you lots of examples of the work of Oscar night, and their work as well, on this special edition of LARRY KING WEEKEND. Don't go away.



MARCIA GAY HARDEN, ACTRESS: It's a Randolph Duke designed dress. He designed it for me. And I have a Kathrine Baumann bag and Harry Winston (ph) jewels.


KING: OK. Last Sunday night is still imprinted in everybody's mind. I know that you designed ...

DUKE: Marcia Gay Harden's.

KING: ... Marcia Gay Harden's.

DUKE: Yeah.

KING: OK, and she won?

DUKE: Yeah.

KING: Does that make you feel better when they win, because you get a better shot...

DUKE: Well, I mean, of course. You'd be lying if you say it didn't. You win the prize -- and especially when it's an upset -- I mean, look, she...

KING: What were you looking for...

DUKE: ... just looks incredible.

KING: ... in that?

DUKE: Well, it's a collaboration, you know. Really, the best is when it's a collaboration. You ask the actors, you work with them; it's an intimate experience.

I like to draw out the woman. I like to draw out who she is. I think we've got to stop the posing. We've got to stop this thing where it's a sound bite. We've got to draw out who she is, what she wants to do...

KING: So you see her as red?

DUKE: ... the best of her.

Well, you know, it's a collaboration, what looks good. She's got light skin, she's got dark hair. It started...

KING: What would be like a bad color for her?

DUKE: ... it started with daddy wanting her to wear champagne, you know, daddy -- captain -- captain in, you know, the army, wanted to Marcia to be in champagne. Champagne washed Marcia out. She needed a deep, strong color. Because when you walk on that red carpet, it's got to be wow. Because you want to set the carpet on fire.

KING: Do you people -- like, do you, George, when you see her -- even let lay that you had nothing to do with her wardrobe -- do you judge it right away? Are you...

BLODWELL: Immediately.

KING: You're all critics, right?

BLODWELL: Yeah. Of course.


BLODWELL: In fact, I was talking to her on the way to the carpet, and I just had to express -- she did look amazing. She looked truly beautiful. The color was excellent -- everything was working. She was elegant. I just thought she looked great.

KING: Did you all agree, or not present company accepted, that she looked good?

BAUMANN: Well, she was carrying my handbag; of course she looked good.

WEITZMAN: And she happened to be wearing my shoes, so she looked fabulous.

BAUMANN: Yeah, I was going to say ...

WEITZMAN: And I think this is all ...

BAUMANN: I mean, talk about all of us being winners here.

WEITZMAN: ... I think this is all a coincidence.

KING: Oleg, did you watch the awards?

CASSINI: Did I watch? Yes, of course. And I have a list of girls -- apart from this lady that was just discussed, which was splendid -- the work -- I had a group that I thought had to be mentioned, because they corresponded in my mind of a group of the past.

For instance, Jennifer Lopez, Winona Ryder, Halle Berry, Catherine Zeta-Jones, Julie Andrews, Angelina Jolie and Hilary Swank all had something that was different and was significant. And I liked them all, to a different degree.

KING: Let's just run through those, what he mentioned.

Did -- what jumped out, Stuart, about ...

WEITZMAN: I would say Jennifer Lopez really looked smashing.

KING: OK. Let's


KING: which everyone says you could see through.

WEITZMAN: Well, Jennifer has a little bit of that about her, you know. Usually, she has clothes on that you don't need to see through, because they're too open. She looked a little more conservative, and looked very, very classy. Could have used perhaps a little jewelry, but I thought the dress was great.

KING: Should it be, George, you -- in other words, if she likes exposing, then expose?

BLODWELL: Of course. And then -- this top was kind of diaphanous. You could see the form of her breasts, and it was kind of -- it was kind of sexy in very elegant way. Really.

The only thing I didn't really like so much was the blonde -- she had these fake eyelashes on, and they were blonde. And this is a runaway trend.

DUKE: You know, I find it funny, because everybody becomes an expert when it becomes to fashion now, because it's a sport. But it's a subjective sport.

WEITZMAN: Totally.

DUKE: If we were talking about a piano concerto, you wouldn't be asking everybody was it a brilliant performance. But when you're talking about a dress, everybody has an opinion.

KING: It's what I like.

DUKE: Exactly. That's what makes it great. Everybody can say what they think. But they...

KING: That's the hardest part of what you deal with, isn't it?

DUKE: Yeah.

BAUMANN: Yeah. And also...

KING: It's subjective.

BAUMANN: Exactly. And Randolph said before about fitting someone's personality. And certainly, that dress fit Jennifer Lopez's personality. She's outgoing, she's fashion forward, she's cutting edge.

DUKE: She knows what she's doing.


KING: So none of you are critical of her?

DUKE: Not at all.

BLODWELL: I'm not...

DUKE: I think she really knows what she's doing.

BLODWELL: I didn't notice the eyelashes; the dress was so beautiful.

BAUMANN: I don't know that my grandmother would have liked the dress...

BLODWELL: Well, the dress was ...

BAUMANN: ... but, you know, I thought as far as fashion...

DUKE: ... the dress was a Kature (ph) dress.

BAUMANN: ... it was wonderful.

KING: What do you mean by Kature?

DUKE: Well, it was Kature. It was from the Chanel Kature collection. It was going around town as she's switching -- you know, they have a lot of dresses on option. We had heard she had released the Kature dress and wasn't going with Chanel -- that could have been a red herring, because there's a lot of this shenanigans that go around town ...

KING: You -- this is competition?

DUKE: Oh, yeah. This is a competition. And every stylist (OFF- MIKE) -- Jennifer doesn't have a Chanel anymore, maybe their PR people put that out. The dress...

KING: Are they all getting these dresses to wear free?

DUKE: Oh, absolutely.


KING: It's important to the designer?

DUKE: It's advertising. It's advertising.

BLODWELL: They don't always get to keep them, but they get -- Oscars, I think, you...

KING: Oleg, has that always been true? Did they wear your stuff that was given to them?

CASSINI: Yes. They wore -- and there was not a tax deduction then, until the law came -- but it was really fantastic. Because I had to compare -- when I was seeing this wonderful group of young designer, they are talking, and making a lot of sense -- but in my mind, comparing this group with the group of the past, in my days, where I was a young, young man, and I courted some of the girls that got the awards. And there was Rita Hayworth, Ava Gardner, Jean Tierney, Lana Turner -- and compare those girls with today's girl...

KING: And?

CASSINI: ... it's a very interesting exercise.

KING: Well, let me pick up on it. Let me get a break and come back.

And by the way, Oleg married Jean Tierney. That wasn't too bad.

This is LARRY KING WEEKEND with our stylists and designers and the like. You're going to be seeing -- we're going to put handbags on the table, shoes on the table -- show you examples on tape and in still as well. Don't go away.


BILL TUSH, CNN CORRESPONDENT: I love those earrings. Where are they from?

JENNIFER LOPEZ, ACTRESS: Fred Layton (ph) They lent them to me.

TUSH: Look at that ring, too! LOPEZ: It's nice.




TISH: You look so beautiful tonight. You want to tell us about the dress, and the jewels?

ASHLEY JUDD, ACTRESS: Mr. Armani made this for me. We had it organized weeks ago. So of course, I sat at home smug, knowing I was all taken care of, when half the girls in town are running around in a panic. And I actually sort of designed the dress around the necklaces, which Dario (ph) and I saw in Fred Layton over the summertime. That's how long I've had my scheme, were I lucky enough to be invited.


KING: Oleg Cassini, you referred to it -- were they better than, or different?

CASSINI: No, the important thing is to consider how every year, it changes. For instance, at that time, the studio system prevailed. And it was great care to help the girls that had the qualities to have the best clothes, best jewelry, the best manners. Today, it's another system. And the girls are more ...

KING: Individual.

CASSINI: ... it's more individual, and they're more on their own.

But I think in view of that, they have done a fantastic job. And the designers done a terrific job of helping them. And except for, here and there, some little weakness, I think...

KING: Well, we'll get to that.

From Oleg Cassini, that's quite a compliment.

DUKE: Well, it's not so easy. Because it isn't just the designers. There's so many people involved. And actually, when so many people get involved, it does become more involved.

KING: Do all of you look up to Oleg Cassini?

DUKE: Absolutely.



BAUMANN: Admire him greatly over the years I've known him, yes. KING: OK, let's -- let's break down some.

Julia Roberts -- I guess one of the most talked about. What did you -- from a wardrobe standpoint, George?

BLODWELL: Fantastic. She was wearing vintage Valentino. She's very clever, I think, in her choice. Because the fall fashion trend is a lot of black and white. And she's ahead of the trend already. And it looked beautiful. The back had a beautiful fan-like effect. It's a beautiful vintage Valentino. I think she sparkled.

KING: Kathrine?

BAUMANN: Well, I think Julia has her own personal style. And I think it fit perfectly with her style.

KING: Shouldn't it?

BAUMANN: Was simple and elegant and graceful, and actually fun. And you could tell by the way she laughs, and she really enjoys her life.

KING: Shouldn't people be their own style?

BAUMANN: Oh, well, that's Julia. I mean, she is always her own style.

KING: Did you see her shoes, Stuart?

WEITZMAN: No she...


KING: She could have worn sneakers, right?

WEITZMAN: Well, you could see the high heel on it. But you really couldn't see much of the shoe. The dress was a little long. But it wasn't a...

KING: So to the shoe man -- to the shoe guy, that's terror.

WEITZMAN: No, it's not terror. It's OK.

KING: Not terror.

WEITZMAN: We need to make high heels, and longer dresses force us to do that.

KING: Randolph, what did you think of Julia?

DUKE: You know, it's the face. I mean, the face -- and I thought the dress -- she finally stepped out, and didn't do the classic American girl from the ranch, which is who Julia is -- because she knew it was her night. And one line that runs right up and goes like that, right to that face ...

BAUMANN: Framed her.

DUKE: ... it's the face.

KING: Perfectly.

Oleg, what did you think of Julia Roberts?

CASSINI: Oh, I thought she was adorable, wonderful.

The only thing -- she's so pretty that I thought if she had let her hair down a little bit, so to speak, it would have been better. The dress was very pretty. And she carried it beautifully. And of course, she's touched by the gods. And everything she does, she does very well.

KING: You're helped a lot, aren't you, if the person is attractive?

DUKE: Oh. It goes on the work done.



OFF CAMERA: Makes whatever you design beautiful.

KING: Are older people harder to design for? I don't mean by older, but an actress who is, let's say, Faye Dunaway, who is over 50, and who looked terrific last night.

WEITZMAN: You know...

BAUMANN: She always looks terrific.

WEITZMAN: I made a pair of shoes for Ellen Burstyn, which I...

KING: She's gorgeous.


WEITZMAN: I wish that the world gets to see them. Because it was the only example of a sensible pair of footwear. These were two- inch heals. Everyone else wanted four- or five- or six-inch heels. And she had herself in a beautiful pair of shoes that felt good, had to be comfortable, because of the height. And it set a nice trend.

KING: She looked good, too, didn't she?

DUKE: Very individual.

You know, this is also about being who you are, and being real, and expressing a part of you. A lot of what all this Hollywood dressing has become is posing for a picture, and they can't wait to get home and take the clothes off. Because they want to get into their real clothes, and have popcorn, and watch the awards from TV. KING: Is it difficult, George -- Ellen Burstyn -- you want her to be her, right? But you have a say in the her. So it's a collaboration.

BLODWELL: It's definitely a collaboration.

KING: She's the boss, though, right?

BLODWELL: She's the -- oh, God ...

KING: She's got to wear it.

BLODWELL: ... your clients are always the boss. You're happy when they're happy.

I particularly like this necklace she was wearing. She was wearing a Dior necklace. And I thought it was just incredible. It was very, very beautiful, and it was very flattering for her.

KING: And is it OK for one thing to stick out?

BLODWELL: Well, she ...


WEITZMAN: That necklace was the highlight of what she was wearing. When she was looking for the shoes, she wanted a shoe to match the -- go with the necklace, as much as the dress. She particularly said that.

OFF CAMERA: And it's also important to draw the attention to it.

BAUMANN: And she wore my handbag, Stuart, to go with your shoes.


KING: What did you say? I didn't hear what you said.


DUKE: Well, it's important to draw the emphasis up, because this is a woman who has a face that is absolutely radiant. And she's a beacon. And when she walks on the red carpet, you're looking at this incredibly -- this face that's transcendent. It just -- it's like a light.

KING: But you're not going to give her the Valentino thing?

DUKE: Absolutely ...

KING: ... that would be too young for her, right?

DUKE: No. You're going to put a necklace that makes her shine like a sun goddess.

BAUMANN: That frames her. KING: We'll take a break. And we'll be right back. We're going to give you some examples of their work. Don't go away.


TUSH: I love your jewelry.

ELLEN BURSTYN, ACTRESS: The jewelry is by Christian Deore. And my dress was designed by Katherine Macon (ph) of San Francisco.

TUSH: You look terrific. Thank you.




TUSH: Tell us about the outfit; it's so beautiful.

JULIE ANDREWS, ACTRESS: Thank you. Feels wonderful.

TUSH: But it's from a designer that you work with...

ANDREWS: Yes. It's by a designer called Garry Jones (ph). And he just did a film that I finished earlier this year. And so I'm just very grateful that he very kindly designed this for me.


KING: Let's stay with some others.

Julie Andrews -- how did she look?

DUKE: Oh, she's elegant.

BLODWELL: Elegant, elegant.

BAUMANN: Classic.


BAUMANN: Classic.

BLODWELL: Classic.


BLODWELL: Just like you would expect.

BAUMANN: The diva.


DUKE: Yeah.

BAUMANN: The definite diva.

KING: Oleg, you agree?

CASSINI: I agree. I selected her. I think she looks -- you know, it was a difference of age. She did a wonderful job. She looked young, yet she covered all the delicate parts of her body. It was really a very good job of selection.

KING: Catherine Zeta-Jones?

DUKE: Movie star.

KING: I'm sorry, Oleg -- or either one -- Oleg, what did you think?

CASSINI: I thought she looked tremendous. Beautiful, carried herself very well. She has a wonderful posture and a wonderful figure. And I thought she looked terrific.

KING: What did you mean by movie star, Randolph?

DUKE: Movie star. I mean, we have embedded in our minds these images of Hollywood sirens from a yesteryear that we can't get rid of. And as much as people look at new images of things that come from fashion magazines that are edgy and ripped and torn, there was something about that that was from the gods. There was something about that that inspired people to look up and dream of something heavenly.

KING: It could be called, though, simple, couldn't it? I mean...


BLODWELL: They were simple lines. But the hair also was exquisitely done. But it's not simple to create -- yeah, it's not simple and easy to do.

KING: But this is all part of a package, right?

BAUMANN: I think so.

KING: If the hair is wrong, that affects the way you look at the dress.

DUKE: Sometimes the simplest look takes the most work to achieve.

WEITZMAN: You notice the simple necklace that was on her also.

KING: Yeah.

Juliette Binoche.

All right, come on you guys...


BLODWELL: I love the way she displayed the pearls. I love that '20s feel...

KING: Randolph didn't like her.

DUKE: Well, no -- oh, I didn't say that. You put words in mouth because I sighed. I always say...

KING: ... you did a bore sigh.

DUKE: ... be you -- I said, OK -- I said...

KING: It was an Al Gore sigh.

DUKE: ... I'm the one saying be you...

BAUMANN: Al gore sigh.

DUKE: ... be real, be who you want to be. So in a way, I shouldn't have sighed. Because I guess she was making a statement. And she asked Jean Paul Gotier (ph) to do something for her.

And she said on the red carpet, he wanted to do a lulu thing. But I think, unfortunately, the perception of people was that it came off like a costume. But maybe it doesn't matter what people thought.

KING: It shouldn't come off like a costume.

BAUMANN: I thought it looked like a costume myself. And she's so breathtaking, she doesn't need to do much. She's like Catherine Zeta-Jones; she doesn't need it.

KING: What did you like?

DUKE: Hard for me to say, because it's a political thing. But I think there are people that don't always make the right choices. But fashion is like impulsive -- do you -- do you sometimes choose the wrong dinner? Do you sometimes choose the wrong tie?

KING: All subjective.

DUKE: But it's subjective. And sometimes we make choices that we go afterwards, "What was I thinking?" I think a beautiful girl like Kate Hudson, maybe, might look back and think, you know, maybe it was a fun choice, but it didn't make me shine on that night as much as I would have liked.

KING: And others were saying that about Kate Hudson, right?

DUKE: Yes.

BLODWELL: Right. True, it's really not...

KING: What was the mistake, George, in retrospect? BLODWELL: The mistake -- well, she had this hair -- curly hair, and this high-collared Chinese thing with the fringe. I think if she'd just taken away that cape with the fringe, it would have been a little stronger.

DUKE: Ultimately, it's about playing up the positives in an actress or a woman, and bringing up her best qualities. This is a girl who is so beautiful, with the most wonderful little body and the most radiant little face -- where is it? Do you see it on her now?


DUKE: I can't see it. It's not there. It's obliterated by too much stuff. And...

KING: Let's look...

WEITZMAN: Well, after last year's Matt Lauer routine...

DUKE: Yeah...

WEITZMAN: ... we're all conscious of costumes this year.

KING: What's the effect of shoes?

WEITZMAN: Shoes are -- shoes are one of the two or three accessories that make the outfit. I think these...

KING: They're an adjunct, though.

WEITZMAN: Yes, they are.

KING: The wrong shoes could really...

WEITZMAN: They will rule the outfit.

KING: ... throw you?


KING: Even if nobody's looking?

WEITZMAN: No, they're looking.

KING: Because you feel -- they are looking.

WEITZMAN: And you are looking.

KING: And you look at shoes...

WEITZMAN: The actresses are looking.

KING: ... Kathrine, you look at shoes?

BAUMANN: I always look at shoes. In fact, I know a lot of men that actually date women depending on their shoes. DUKE: How about not looking ...

BAUMANN: They want to see how they take care of their shoes...

DUKE: ... how about how things make you feel?

BAUMANN: ... and what they wear.

DUKE: Because ...

KING: Yeah, what if they make you feel good...

DUKE: What if things make you feel good, and you walk in, and you suddenly just pose like that because you feel like a million bucks, because you know you're wearing quality?

KING: Let me get a break. And we'll come back.

Lots more to go. We're going to show you shoes and handbags, and other things on this show devoted to designers. Don't go away.


TUSH: This is really dumb. I'm going to say why are you guys here tonight?

GOLDIE HAWN, ACTRESS: Exactly. We were asking ourselves -- uh- oh, our daughter was nominated, honey!

TUSH: How exciting is that?

HAWN: It's the blast of all time.



KING: Welcome back to LARRY KING WEEKEND. We'll reintroduce our panel; we'll get back to some other what the panel think may have been mistakes on Oscar night, and we're going to show you some Stuart Weitzman shoes in this portion.

The panel is Oleg Cassini: He has dressed stars like Marilyn Monroe, Grace Kelley, Natalie Wood, Jean Tierney including, as well, Jacqueline Kennedy.

Randolph Duke: This year he designed the gown worn by best supporting winner Marcia Gay Harden; last year he designed the olive green-ish princess gown worn by best actress winner Hilary Swank, and he comes out of Vegas, where his mother was a showgirl.

Stuart Weitzman, shoe designer; among many stars wearing his shoes last night -- or rather, last Sunday night -- we're taping this on Monday, before this, by the way -- were Oscar winner Marcia Gay Harden, Ellen Burstyn, Calista Flockhart, Bo Derek, Mary Hart. Kathrine Baumann is the handbag designer; last night her bags were carried by Marcia Gay Harden and Ellen Burstyn and more than a dozen other stars; she was a former first runner up for Miss America.

And George Blodwell, wardrobe stylist; among his Oscar night clients were Lara Flynn Boyle of TV's "The Practice"; past clients include Sharon Stone, Drew Barrymore, Faye Dunaway, Diane Cannon, Catherine Zeta-Jones, Liza Minnelli, and Anjelica Huston.

All right, Stuart we have an array of shoes here.

WEITZMAN: And they're all very different.

KING: They're all very different; want to go through them?

WEITZMAN: Well, the first one that you can see -- that gold shoe -- that's that lower-heeled evening shoe that we made for Ellen Burstyn so that it picked up the gold...

KING: Ellen Burstyn wore this last Sunday?

WEITZMAN: She did not want her nose to bleed; and that was the shoe she wore.

The Cinderella story -- these transparent shoes that you see here...

KING: Cinderella?

WEITZMAN: Which really grew out of Miss Universe kinds of shoes -- I guess you'll remember that, Kathrine, these kinds of shoes. We -- this was the style last year, and I particularly brought these to show how fashion's changed in footwear -- that this transparent shoe was last year's great look, went with everything. This year they wanted shoes to match, and this is a perfect example of shoes to match.

Zang Tse (ph) -- I think that's how she says it -- we made this shoe specially for her. It had to match a certain height of dress -- they hem their dresses, and if the shoe is the wrong height they fall down, so this has to work. But her mother vetoed it after she saw it on her Saturday because it was too sexy. The toes in the Asia culture -- the toes in the Asian culture are really a very sensuous part of the body.

And the mother said --


WEITZMAN: No toe cleavage on -- we had to, with four hours notice had to make her a beautiful stiletto pump that she did wear. So that was an example of last-minute, hectic -- and how it goes.

BLODWELL: From my point of view, the stylists working with her would be going...


BLODWELL: ... together, and then all of a sudden the mother comes and says no, let's change the shoe. It happens all the time, these last minute changes...

KING: Do they have to fit?

WEITZMAN: They have the fit, and we really want to...

KING: Come on! Come on, Stuart!

WEITZMAN: They have to fit and be comfortable. We do anything we can to make them comfortable, as well.

KING: Will you wear shoes that are beautiful for you, but didn't fit.

BAUMANN: No, I would not.

KING: You would not...


KING ... say, they're killing me but I love them.

BAUMANN: No, that' not true -- I wear shoes that aren't that comfortable, but they do fit -- they just aren't that comfortable.

KING: Oleg, should the designer know what shoes the client is wearing?

CASSINI: He should know everything. The designer must know everything. Remember, he's the No. 1 confidant of a woman; all her secrets he has to share. And the shoes are important -- terribly important. And so I would really say that a designer is an artistic doctor for a woman. She has no secrets from him because he knows her weaknesses and her strength and he helps her out.

KING: He's the family doctor. All right, so the family doctor should know if it's a neurological problem, even if he's not a -- you want to know what shoe, right?

DUKE: But it was much easier when he did it; much easier.

KING: Much easier when Oleg did it? What do you mean?

DUKE: It's not like that today.

KING: Because of television?

DUKE: Today it's a committee decision. You know, it's everybody plus, you know, the publicist and the -- there are a lot of opinions, so you have to be careful.


DUKE: You must work very collaboratively.

KING: Really?

DUKE: Oh, yeah.

KING: You think the pressure's enormous?

DUKE: It's not the pressure, it's just you have a lot of opinions that come into play today from the manager and the publicist and the agency and the director and the producer, and they all come in a room and they all stand and they say, well I think the strap should be shorter; well I think the strap should be longer; and you can't come to -- I mean, it's a lot involved. I don't always figure out the strap length at the last fitting.

BLODWELL: Plus, also, now there's more competition even amongst designers; where Mr. Oleg would have this woman exclusively, now the stars are...

KING: Exclusive is gone now?



DUKE: And the best is when I can work in a room with a woman and look her in this eyes and say, what do you want to look like? What's the best quality about you.

KING: Who was -- wasn't it Sharon Stone a couple of years ago who wore something from the Gap?


KING: Was that bad or OK?

DUKE: Great.

BAUMANN: It was fun.

KING: So you're now putting her down?

DUKE: Absolutely great; that's individual style; that's making a statement.

WEITZMAN: Not everyone would have been able to pull that off, but it was fine for her.

BLODWELL: She started a bit of a trend, too; I mean, just the simple tops and the full bottoms.

KING: Oleg, have you ever dropped a client because they bug you too much?

CASSINI: No. But before I make -- give you an answer, I want to say Randolph Duke is a wonderful, wonderful designer and so is the group that you've selected. But I want you to know for sure that I'm not out of the race at all. I have my business like I've had before, and I don't want these young men to -- young women to think that I quit.


KING: I called you the dean -- I mean, how old are you, Oleg?

CASSINI: Eighty-eight.

DUKE: Bravo.

KING: We'll be right back with more of our panel, and we're going to show you handbags. Don't go away.


TUSH: Laura Linney, congratulations...

LAURA LINNEY, ACTRESS: Thank you so much.

TUSH: ... for "You Can Count On Me." You know, I was on the set the day you were shooting that movie. I, of course, never had any idea.

LINNEY: No, of course; none of us had any idea we'd be here.

TUSH: And how excited are you about this?

LINNEY: I'm thrilled out of my mind to be here. It's chaotic and exciting, and I'm so proud to be here, and it's a real thrill.




TUSH: I love your dress; tell us about that.

BJORK, MUSICIAN/ACTRESS: My friend made it.

TUSH: Oh, really.?

BJORK: Yes; he's call Marion (ph).


KING: In the next segment we're going to show you some of Kathrine Baumann's extraordinary handbags.

We want to get back to some misses. We discussed earlier that Kate Hudson may have been a miss -- that's the subjective opinion. How about Ms, Bjork in that fluffy, draped swan outfit.

DUKE: She's a musician, she's a songwriter... KING: Bjork, is that's how to pronounce...

DUKE: Bjork...


WEITZMAN: You know, there's an example of Cher, there's an example of a Madonna. You have to put into perspective this is an artist who's a pop star. She sings and creates some of the most forward music we have today in the world, and I think we shouldn't look at everybody like they need to look like Catherine Zeta-Jones of Charlize Theron. We mustn't put everybody into the category of trying to make them look like a 6-six foot tall beauty.

BAUMANN: Now, I think that a person, as well as I've said before -- you have to look at the person and accent the qualities...

KING: Why were you shaking your head no about...

BAUMANN: Well, because I would never have dressed her in a short dress like that with her ankles. I would have always worn something long.

KING: She has bad ankles?

BAUMANN: She has no ankles. And therefore, I would have dressed her in something maybe sheer, or something that...


KING: What do you do with a shoe for someone with no ankles?

DUKE: There is a photograph of her in "The L.A. Times" today that is an absolute Vargas pinup. It is a timeless picture.

KING: You didn't mind it. But that's -- difference of opinion is part of what you're doing.

George, what did you think?

BLODWELL: I liked it. And respectfully she's an artist, she's a shopping writer, she's a musician. She's in a different category than most of the people we saw on the red carpet that are actresses. And it was interesting.

DUKE: It was whimsy. It was whimsical.

BAUMANN: I think she laid an egg. I think she laid an egg. That's what I think.

KING: Was there anything last Sunday night that would have been universal, where you all said, "bad"? As you saw it, just wrong?

BLODWELL: Francis McDormand didn't inspire.

KING: Francis McDormand didn't inspire. BLODWELL: Yeah. The colors washed her out.

KING: So no one of you would have said bad?

WEITZMAN: No, I thought Francis was...

DUKE: No, no, not bad, no.

BAUMANN: I even liked part of -- yes -- I even liked Kate Hudson because she's just a darling. She just has a sparkle about her, and I look at her face. I don't really look what she's wearing that much. That face is just Goldie. It's just magic.

KING: Oleg, anyone you didn't like? Other than...

CASSINI: No, but nobody mentioned Winona Rider, and I think she's quite a cute looking girl, adorable looking girl that has great promise, and will probably do very well, and I never heard her mentioned today. And I thought I should help her, and mention her because I, although I don't know her personally.


BAUMANN: We love her. She's great.

DUKE: Well, I think because she wasn't nominated and maybe because she wasn't -- she was a presenter, but Winona has great personal style. She tends to wear vintage clothes a lot, and has a personal style that's very cultivated.

KING: How about Angelina Jolie?

DUKE: I thought she was great because she has started developing now, a personal style of always sticking to very neutral colors. She wears white or black or silver or nude. I've dressed her before. She, coming in a suit, I thought was like a modern day Deloris Del Rio (ph) sweeping across the red carpet. This is a real iconic figure.

BLODWELL: I agree, but I think that if she put some kind of diamond choker on or some bigger ears, or just make it a little bit more Oscar worthy, it would have had more sparkle.

KING: How about men?

WEITZMAN: They were all wearing their tuxedos, you know.

BAUMANN: But they were wearing a longer jacket.

BLODWELL: Well, Benicio del Toro had a very interesting detail on. I remember looking at him quite close up and he had like, satin stripe, satin seem going down the side of the jacket. It was a very subtle, nice modern detail that I hadn't seen.

Russell Crowe, I think, a lot of people didn't care for.

KING: Yeah? Why? A tuxedo is a tuxedo. What are you looking at?

BLODWELL: Well, he had a different collar and tie on.

BAUMANN: I liked it.


KING: Tom Cruise?

BAUMANN: He always looks cute.

KING: Tom Cruise, what do you make of the open collar though?

BLODWELL: Too casual. Not enough respect for the Oscars.

DUKE: No "there" there.

KING: Oleg, you ever design for men?

CASSINI: Yes, I design actually for men as well as for women. The question is that I didn't see anything new in the men's. It's not easy to create something new and create a look for men, but frankly, I only heard mentioned some names, but they all had their own tuxedos and they all looked the same to me.

DUKE: Benjamin Bratt looked excellent.

KING: Benjamin Bratt looked excellent.

BAUMANN: And very proud.

KING: Some men look good in a tuxedo.

BAUMANN: Oh, yes, very sexy.

BLODWELL: Most men look good in tuxedos, black and white.

WEITZMAN: That young fellow last year won -- Olson, looked great, started him off.

KING: OK, when we come back...

BAUMANN: Larry, I like to untie the tuxedo bow tie with my teeth.

KING: You like to what?.

BAUMANN: I like to untie it with my teeth.


KING: That's a whole different show. But it's why your husband is perpetually smiling. We'll be back and show you some of Catherine's handbags after this. Don't go away.

(COMMERCIAL BREAK) KING: All right, now we're going to look at the handbags of our guest Kathrine Baumann.

What would you call these styles? What are they? I mean, you do, like, "The Titanic."

BAUMANN: "The Titanic" I did in tribute to the movie "Titanic, and...

KING: That's a bag?

BAUMANN: It's a handbag; want me to open it?

KING: Yeah.

BAUMANN: And it's actually signed by John Landau, one of the producers.

KING: OK; you can put things in there?

BAUMANN: Yes; in fact, some of them accommodate cell phones. In fact, all my new bags accommodate cell phones because I think it's very important that women are kept in communication with what's going on, especially when you're looking for your next movie.


BAUMANN: This actually -- oh, lipstick fits in.

This actually was made in honor of "Chocolat." And you can see on the little banner here it says, "Chocolat."


BAUMANN: ... and that opens, too. So it was a gift to Juliette Binoche, and she carried it to some press conferences.

This one was made for CoCo Lee -- she was nominated for best song for hidden dragon -- I'm sorry, "Crouching Tiger, Hidden Dragon." And we did it in two colors for her -- in the reds, the oranges and yellows, and also in the lavenders and silvers; and she carried this.

KING: Do you make normal handbags? You know, leather with the strap that...

BAUMANN: No I don't; no.

WEITZMAN: Larry, these are normal handbags.

KING: These are normal?


KING: This is a fashion statement, right?

DUKE: Well, this is what you wear with a gown... BAUMANN: You know, like, Marcia Gay Harden actually carried a very traditional new-modern style. It was very geometrical on the sides, but curved on the ends so it was soft and feminine, but contemporary.

KING: The sneaker?

BAUMANN: This one is my favorite. I wear this running and dashing to airplanes. It's for the woman on the run, and you actually do have your cell phone inside.

DUKE: With your sweats and cashmere.

BAUMANN: Yes, exactly -- cashmere and sweats.

But I do make a lot of more contemporary, traditional pieces...

KING: Now, these are only worn at night?

BAUMANN: No, this I actually wear, actually, with sweats and I wear them with the tennis skirt or jeans.

KING: Do you like them, George.

BLODWELL: I love them. They're very creative.

KING: They're whimsical?

BLODWELL: They're whimsical and make a statement. I would suggest only wearing them at night; maybe the sneaker you could run around with, yes.

BAUMANN: This, yes; true, the sneaker is the only...

KING: Oleg, are you able to see these?

CASSINI: Yes; yes. They're very interesting; they're very creative and they're new. They're fun.

KING: Fun.

BAUMANN: Thank you, Oleg.

KING: But when do you wear these? When would you tell a client, Randolph, wear one of these to an Oscar?

DUKE: I think mixing elements and knowing how to have style is something that comes from somebody who has a craft at that, and creating that individual style is really what it's about. We don't have a lot of women today who have the kind of style that the women Oleg dressed had.

KING: If you're doing shoes, do you want to know if they're wearing one of these?

WEITZMAN: I sure do. This bag, for example, that CoCo Lee used, we had to do a red shoe with it. She matched her bag rather than matching her dress. How about that?

BAUMANN: I like that.

KING: So they bring that to you and they show you the bag and they say, match the...

WEITZMAN: Of course, it can't fight the dress...


WEITZMAN: The shoes and the bag should match.

BAUMANN: We've all been very fortunate to have worked together quite often...

KING: On projects.

BAUMANN: Yes; a particular stylist by the name of Jessica Pastor (ph)...


BAUMANN: ... happens to work with us a lot and...

KING: All right, what did you think of Renee Zellweger?

DUKE: Gorgeous; gorgeous.

BAUMANN: I loved it; loved it -- glamour.

BLODWELL: I love the Veronica Lake hair, too.

DUKE: And the color's unexpected; you know, sometimes it's a color competition. It's a color we haven't seen a lot of.

BLODWELL: And it's about the movement, too -- the movement of the dress when she's walking...

DUKE: Grecian goddess -- it's, again, that goddess imagery that Oleg talks about. You must always think about Aphrodite and Venus; and the real imagery we're drawing from here is history.

KING: Oleg said a lot of that, didn't he?

WEITZMAN: There was a lot of yesteryear on the runway.

KING: There was?

WEITZMAN: Vintage Valentino...

KING: And you guys liked that?

WEITZMAN: It was mixed in, there was a lot of modern as well.

BLODWELL: I must mention the corset too. She had a lovely corset. KING: How about Laura Finney?

BLODWELL: Laura Linney.

KING: Laura Linney.

BLODWELL: Laura Linney looked beautiful. Laura Finney looked better! No, Laura Linney looked beautiful.


BAUMANN: She said the dress cost more than what she got paid for her movie.

DUKE: She looked beautiful.

BLODWELL: She -- exquisite, exquisite.

KING: What are you paying for when I buy a dress like this for the wife?

DUKE: When you buy a dress...


BLODWELL: You're paying for very good fabric. This is something I learned when I was working in Italy. I mean, why are people paying so much...

KING: $8,000.

BLODWELL: Exactly. Why? Well, actually the fabrics are exquisite. And sometimes they are hand-beaded work, they take hours and hours and days to create all this work. It's all in the fabric.

KING: Let me get a break, we'll back with our remaining moments with Cassini, Duke, Weitzman, Baumann and Blodwell. If they weren't designers, they could be a law firm. Don't go away.


KING: Want to run down some other people we saw last Sunday before we get some closing comments for this very talented crew. Sigourney Weaver?

DUKE: Oh, she was great.

BAUMANN: Oh, I loved her.

BLODWELL: Excellent.

WEITZMAN: We all vote an A for her.


KING: Oleg, you agree? . CASSINI: I agree.


BAUMANN: I loved the floral on her. Dramatic.

KING: Yes, Oleg?

CASSINI: Yeah, I would like to add that Veronica Lake -- I designed her first hairdo and her first costumes, and Hornblower (ph) was the producer and Mitch Lacey (ph) the director at Paramount.

KING: Wow, that goes back to the '40s?

CASSINI: Yes, it does.

KING: You were a kid.

CASSINI: Yes, I was a kid.

KING: How did Ashley Judd look, guys?

CASSINI: Very pretty. Very good.

DUKE: Influences again -- there was a strong theme in this Oscars of '20s influences of flapper.


KING: Well, how did one influence another? Did they all knew what the others were doing?

DUKE: No, but I tell you, we keep going back to all these retro influences, because they must have been doing something right. The trick is to make it modern, to bring it forward.

KING: How about...

BLODWELL: And if you have hundreds of girls, and they are going back to old looks, they often will overlap.

KING: How about Joan Allen?

DUKE: Lovely.

BAUMANN: Joan Allen -- I loved the color, I loved everything she did from her hair to her toes.

KING: How about Hilary Swank? You did her last year.

DUKE: I did Hilary last year, yes. She sort of went a little bit sexier this year, a little bit more voluptuous this year, yeah.

KING: Now how did you -- you know, Randolph...

DUKE: You could really see her body. KING: You had Hilary Swank last year, she won. You had Marcia Gay Harden this year, she won. Next year, every nominee in the actress category may come to you just for the luck factor!

DUKE: Well, luck is luck, right? You never know. You just do what you do. It's about making women look beautiful. You can't think about that part. If you do what you do, it's about focusing on making women look beautiful.

KING: Do you ever say to yourselves, I was wrong?


KING: You do?

BLODWELL: Absolutely.

KING: When you just say, I missed?

BLODWELL: Absolutely. Isn't that life?

KING: No, I mean you were self-critical enough to know when you did it wrong?

DUKE: Yes, you have to be.

WEITZMAN: Yes, sure.

KING: In other words, you made shoes that you said...

WEITZMAN: If it doesn't fit right and a blister comes, we know it's wrong.

KING: It's your fault if the blister comes?

WEITZMAN: Generally it is, because I have to know that foot.

KING: You make a wrong handbag?

BAUMANN: I don't think so. I only make the things that I really love, and so if I love it, I like to think other people love them too.

KING: Oleg, you ever admit your own mistakes?

CASSINI: I do, but I want to tell you something. Thinking back, and you gave me this opportunity, Jackie Kennedy's clothes could have been absolutely perfect for this moment.




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