Aishwarya Rai wore an embellished black and white gown at the Red Sea Film Festival opening on December 4, 2025.
Aishwarya Rai attended the opening night red carpet for Giant at the 2025 Red Sea International Film Festival in Jeddah, Saudi Arabia, wearing a black and white ensemble that fused regal ornamentation with theatrical precision. The floor-length gown , constructed from alternating panels of black and white fabric, featured silver embellishments and sequins that cascaded across the bodice and skirt like ceremonial embroidery.
The fitted silhouette transitioned into a flowing hemline trimmed in black, anchoring the visual rhythm. Over the gown, Rai wore a black jacket with ornate silver embroidery on the sleeves and shoulders — a gesture that reframed the look from couture to costume, invoking royal portraiture and operatic drama.
Elizabeth Berkley wore a black suit at the Women in Entertainment Gala in Beverly Hills on December 3, 2025.
Elizabeth Berkley attended The Hollywood Reporter’s Annual Women in Entertainment Gala in Beverly Hills on December 3, 2025, wearing a black suit that fused minimalist tailoring with quiet authority. The structured silhouette , composed of a fitted blazer and matching trousers, was paired with a black top that softened the ensemble’s sharpness without diluting its intent.
Her black handbag , featuring a gold clasp, added a subtle accent — not decorative, but declarative. No visible jewelry competed with the look’s clarity. The absence of embellishment was the point: this was red carpet fashion that spoke in understatement, not spectacle.
Oona Chaplin wore a red outfit at the Avatar Fire And Ash photocall in Paris on December 4, 2025.
Oona Chaplin appeared at the Avatar: Fire And Ash photocall at Hotel Shangri-La in Paris on December 4, 2025, wearing a red ensemble that fused cinematic symbolism with architectural clarity. The monochrome silhouette , bold and uninterrupted, stood in sharp contrast to the black platform and the golden text behind her — a deliberate echo of the film’s elemental palette.
The cut and structure of the outfit suggested editorial precision rather than costume drama. No visible embellishments, no accessories competing for attention — just color, stance, and context. Her pose — upright, centered, framed by the Eiffel Tower — transformed the look into a tableau of myth and modernity.
