Amanda Seyfried’s TIFF red carpet moment was a romantic collision of old-world glamour and modern poise—floral embellishments, off-the-shoulder drama, and a necklace that practically narrated its own origin story.
Amanda Seyfried doesn’t just wear a dress—she animates it. At the premiere of The Testament of Ann Lee during the 2025 Toronto International Film Festival, Seyfried stepped onto the TIFF Lightbox red carpet in a look that felt like a love letter to vintage couture, with just enough edge to keep it current.
Her gown: a black off-the-shoulder masterpiece with a fitted bodice and flared skirt, adorned with delicate floral embellishments that clustered across the neckline and chest like a garden caught in moonlight. The fabric appeared to be a structured satin or silk blend, holding its shape with regal precision while allowing movement through the skirt’s gentle flare.
The silhouette was classic—cinched waist, open neckline, and a skirt that skimmed the floor with just enough volume to suggest drama without drowning her frame. It’s the kind of cut that recalls Dior’s New Look, but with a 2025 sensibility: less corset, more comfort.
Accessories were where the look truly bloomed. Seyfried wore a statement necklace from Tiffany & Co.’s Bird on a Rock collection—a piece that sparkled with whimsy and gravitas, perched delicately at the collarbone. Diamond stud earrings and the Victoria Band Ring added quiet punctuation, balancing the necklace’s theatricality with restraint.
Her black open-toe heels peeked out beneath the hem, grounding the ensemble in simplicity. Hair was styled in soft waves, parted to one side, cascading with a kind of effortless polish. Makeup leaned luminous: dewy skin, a soft berry lip, and eyes subtly defined to let her natural features shine.
In a festival season dominated by metallics and sheer experiments, Seyfried’s look felt like a return to storytelling through silhouette and embellishment. It’s a reminder that red carpet fashion doesn’t need to be loud—it needs to be intentional.
Kerry Condon’s TIFF red carpet look was a masterclass in tonal restraint—beige meets black, with a silhouette that whispered sophistication rather than screamed spectacle.
Kerry Condon doesn’t chase trends—she refines them. At the premiere of Train Dreams during the 2025 Toronto International Film Festival, held at the Royal Alexandra Theatre, Condon stepped onto the red carpet in a look that felt quietly radical: no sequins, no plunging necklines, just pure, architectural elegance.
Her outfit was a study in contrast and balance. The top, a long-sleeved beige piece with a soft, matte finish, offered warmth and subtlety. Its tailored fit skimmed the body without clinging, creating a clean canvas for the drama below. The skirt—high-waisted and black—anchored the look with structure and depth. Floor-length and slightly flared, it moved with a kind of cinematic grace, catching the light in folds that suggested volume without bulk.
Together, the pieces formed a silhouette that was both classic and modern—reminiscent of 1940s screen sirens, but with a 2025 sensibility. No embellishments, no visible branding. Just cut, color, and confidence.
Accessories were minimal, allowing the outfit’s geometry to take center stage. Condon wore black heels that peeked out beneath the hem, elongating the silhouette without drawing attention. Jewelry, if present, was understated—perhaps a nod to the current wave of anti-maximalism sweeping through celebrity fashion .
Lily James brought high-drama minimalism to TIFF’s red carpet—her voluminous black gown fused classic couture with a whisper of architectural rebellion.
There’s a particular kind of red carpet magic that doesn’t rely on sparkle or skin—it’s all about silhouette, presence, and precision. At the premiere of Swiped during the 2025 Toronto International Film Festival, Lily James delivered exactly that. Her look? A strapless black gown that felt like a study in sculptural restraint.
Designed by 16Arlington, the gown featured a fitted bodice that sculpted the torso with clean lines and subtle boning, giving structure without stiffness. The fabric—likely a silk faille or duchess satin—held its shape with quiet authority. But it was the skirt that stole the show: voluminous, gathered at the front, and draped with a kind of controlled chaos that felt almost architectural. It wasn’t just a dress—it was a shape.
James’ accessories were minimal, letting the gown speak uninterrupted. No necklace, no clutch—just a pair of earrings that added a glint of elegance without competing for attention. Her hair, styled in soft waves, framed her face with a touch of vintage glamour, while her makeup leaned classic: a defined brow, muted lip, and skin that glowed under the TIFF lights.
In a season where maximalism has dominated red carpet headlines, James’ choice to go monochrome and sculptural felt like a quiet rebellion. A reminder that elegance doesn’t need embellishment—it needs intention.
