Anya Taylor-Joy brought architectural whimsy to the TIFF red carpet—her layered Dior dress a confection of satin geometry and icy elegance.
At the 2025 Toronto International Film Festival premiere of Sacrifice , held at the Princess of Wales Theatre on September 6, Anya Taylor-Joy didn’t just arrive—she materialized. Her look was less “actress at a premiere” and more “fashion apparition,” floating across the red carpet in a custom Dior creation that felt like origami reimagined for the silver screen.
Crafted from a pale blue satin with a subtle iridescent sheen, the Dior custom dress featured a sleeveless bodice and a skirt composed of layered, ribbon-like panels—square and rectangular folds that gave the silhouette a sculptural, almost kinetic quality. The fabric caught the light with every movement, shifting between icy blue and soft silver depending on the angle. It was couture geometry, softened by the fluidity of satin.
Taylor-Joy paired the dress with white Christian Louboutin Iriza pumps—classic, pointed, and just sharp enough to anchor the softness of the look. Around her neck, a Tiffany & Co. necklace in platinum shimmered with aquamarines, blue zircons, and diamonds, echoing the cool tones of the dress while adding a layer of old-world glamour. Her clutch was discreet, her jewelry minimal—every element chosen to support, not compete.
Anya Taylor-Joy’s TIFF appearance proves that celebrity fashion isn’t just about what’s worn—it’s about how it’s imagined. So, is this the dawn of sculptural surrealism on the red carpet—or just Taylor-Joy reminding us that she’s always one step ahead of the curve?
Charli XCX leaned into noir minimalism at Gucci’s TIFF soirée—her sleeveless black gown a quiet rebellion against the usual red carpet theatrics.
Charli XCX has never been one to follow the script—especially when it comes to fashion. At Gucci’s celebration of Sacrifice during the 2025 Toronto International Film Festival on September 6, she arrived in a look that felt like a deliberate pause in a sea of cinematic excess. No sequins, no feathers—just a long black dress, a stark backdrop, and the kind of presence that doesn’t need embellishment.
Her sleeveless black gown was pure restraint: floor-length, clean-lined, and cut to skim the body without clinging. The fabric appeared matte, possibly crepe or silk blend, offering a subtle texture that caught the light only when it wanted to. The simplicity of the silhouette allowed the cut to speak—no frills, just form.
Gucci’s TIFF presence signals a shift in how fashion intersects with film: less about spectacle, more about narrative. Charli’s look felt like a character study—perhaps the femme fatale who doesn’t need a monologue. It’s part of a broader evolution in celebrity photos where mood and minimalism are taking center stage.
Alison Brie’s high-slit black gown—equal parts sculpture and seduction—brought architectural drama to the Television Academy’s most quietly stylish red carpet.
Some dresses whisper. Others command. At the 2025 Creative Arts Emmy Awards held at the Peacock Theater in Los Angeles on September 6, Alison Brie arrived in a look that did both—an elegant black gown that fused classic Hollywood with modern edge, all while cradling an Emmy statuette like it was born to be hers.
Brie’s dress was a study in strategic exposure: long, black, and sleeveless, with cut-out details at the waist that sculpted her silhouette without veering into gimmick. The fabric appeared to be a matte stretch crepe—structured enough to hold shape, soft enough to move. A daring thigh-high slit added kinetic energy, revealing just enough leg to balance the gown’s otherwise covered frame. The neckline? Clean and minimal, letting the geometry of the cut-outs do the talking.
She kept accessories understated, allowing the dress to remain the focal point. A small clutch (not visible in hand but likely tucked away) and black heels grounded the look. The real accessory, of course, was the Emmy itself—held with pride, gleaming gold against the gown’s inky backdrop.
In an era where red carpet fashion often leans toward maximalism, Brie’s look felt refreshingly architectural. It nodded to the cut-out trend without drowning in it, offering a version of red carpet dressing that was both editorial and Emmy-appropriate. Think: a little Tom Ford, a little Helmut Lang, and a whole lot of restraint.
