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.
The artist and activist M.I.A. attended the ‘Sacrifice’ World Premiere at the 2025 Toronto International Film Festival, making a statement that was both bohemian and bold. Her look fused draped, earthy tones with a futuristic edge, proving that her unique brand of rebellion extends far beyond her music.
Her ensemble centered on a tan, draped mini-dress with a rich, suede-like texture. The fabric was gathered and ruched vertically down the front, creating a striking ribbed effect. The sleeves featured dramatic, batwing-like cuts with a similar ruched detail that extended down to her hands. It was a silhouette that felt both free-flowing and deliberately sculpted, hinting at a modern goddess aesthetic. The dress’s short hemline showcased a pair of thigh-high, dark denim boots, adding a sharp, unexpected element to the otherwise soft-toned outfit.
M.I.A. completed the look with a pair of sleek, black sunglasses and an assortment of silver rings on both hands. Her long, dark hair was styled in loose waves, giving a relaxed, effortless contrast to the structured folds of the dress. The makeup was subtle, allowing the sunglasses and overall silhouette to take center stage. The result was a look that felt authentically hers—a perfect blend of global nomad and metropolitan cool. It’s a prime example of how some celebrity fashion transcends trends, carving its own path with confidence and an unmistakable personal flair.
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?
