Angourie Rice brought cinematic drama to the TIFF red carpet—her voluminous black gown and burgundy heels whispered Old Hollywood, but the updo screamed 2025 precision.
Angourie Rice knows how to make an entrance. At the September 5 premiere of Steal Away during the Toronto International Film Festival, the Australian actress stepped onto the red carpet with a look that felt equal parts screen siren and sculptural modernist.
Her black gown—cut with a high-low hemline that teased the burgundy heels beneath—was a masterclass in proportion play. The fitted bodice, anchored by thick shoulder straps, gave way to a voluminous skirt that moved like shadow and silk. It’s unclear whether the piece hails from a major house or a rising atelier, but the craftsmanship speaks for itself: this is tailoring with intent.
Accessories were kept classic. A delicate necklace and matching earrings added just enough sparkle to catch the flashbulbs, while her burgundy heels offered a rich contrast that grounded the monochrome palette. The color choice was subtle, but smart—like a wink from a noir heroine who knows she’s being watched.
For those tracking red carpet evolution, this premiere moment is a reminder: elegance isn’t extinct, it’s just been re-engineered.
Shailene Woodley channels noir futurism—belted, bold, and a little bit beastly—in a portrait session that feels more like a fashion exorcism than a press junket.
There’s something deliciously off-kilter about Shailene Woodley’s TIFF 2025 appearance for TheWrap’s Portrait Studio. Not red carpet, not street style—this is a controlled detonation of celebrity fashion norms, staged in grayscale and delivered with claws out.
Let’s start with the silhouette: a dark, belted coat with exaggerated sleeves that billow like a noir heroine’s final act. The fabric reads matte, almost armor-like, with no visible embellishment—just pure structure. It’s the kind of piece that doesn’t whisper designer; it roars concept. Whether it’s archival Yohji or a custom piece (unconfirmed at press time), the coat’s architectural heft anchors the entire look.
Accessories? Minimal, but surgical. Oversized sunglasses obscure the eyes, adding a layer of anonymity that feels intentional—Woodley isn’t here to emote, she’s here to embody. No jewelry, no bag, no distractions. The absence is the statement.
Her pose—one arm raised, the other bent—evokes movement, but also menace. It’s part flamenco, part fashion witchcraft. The monochrome palette amplifies the drama, stripping away color to leave only attitude. Lighting is stark, studio-flat, which only heightens the theatricality.
In a chiaroscuro haze of leather, checkered heels, and sculptural silhouettes, Elle Fanning and Renate Reinsve redefined quiet luxury—TIFF’s Portrait Studio never looked sharper.
There’s something about a muted backdrop that makes fashion speak louder. At TheWrap’s Portrait Studio during the Toronto International Film Festival 2025, Renate Reinsve and Elle Fanning didn’t just pose—they punctuated the moment with a masterclass in tonal dressing and textural tension.
Let’s start with the visual architecture. Fanning, ever the porcelain rebel, wore a belted coat-dress in a textured cobalt blue—structured yet soft, like a Bauhaus sketch rendered in boucle. The silhouette was clean, almost monastic, but the pointed-toe heels added a flick of defiance. Reinsve, meanwhile, leaned into a darker palette: a deep brown V-neck sweater paired with a high-sheen leather midi skirt. The skirt’s subtle flare and the checkered heels beneath it whispered ‘70s Milan, but the overall mood was firmly modern.
And then there’s the third figure—possibly a stylist or fellow cast member—whose high-slit black leather skirt and dark brown knit top created a visual echo across the trio. It’s rare to see such cohesion in a candid studio portrait, but here, the styling felt like a deliberate triptych: three women, three variations on power dressing, all grounded in earth tones and elevated textures.
