Chloe Sevigny—never one to play it safe—brought Victorian mischief and modern edge to Venice in a lace-heavy look that felt part Wednesday Addams, part Comme des Garçons.
There’s a certain thrill when Chloe Sevigny hits a red carpet: you brace for something cerebral, something off-kilter, something that refuses to be just “pretty.” At the 82nd Venice International Film Festival on August 29, 2025, Sevigny arrived at the “After The Hunt” premiere in a look that felt like a fashion thesis—equal parts gothic schoolgirl and couture rebel.
Her black lace dress was a textural playground. The bodice, sheer and structured, gave way to a voluminous ruffled skirt that billowed with theatrical intent. A crisp white collar and matching cuffs punctuated the darkness, like punctuation marks in a moody novella. The silhouette was exaggerated but wearable—think Victorian doll meets punk librarian. While the designer remains unconfirmed at press time, the aesthetic leaned unmistakably toward Simone Rocha’s romantic grotesque or early McQueen’s twisted femininity.
Sevigny paired the look with black high-heeled sandals—delicate straps, no embellishment, just clean lines to offset the drama above. Jewelry was minimal, if present at all. The restraint in accessories allowed the dress’s layered textures to take center stage, a smart move in a sea of over-accessorized ensembles.
In a year where celebrity style has leaned heavily into Y2K nostalgia and hyper-femme maximalism, Sevigny’s look felt like a quiet rebellion. It nodded to historical costume, yes, but filtered through a lens of downtown cool. It was fashion that asked questions—about identity, about femininity, about the role of discomfort in beauty.
Anna Ferzetti’s photocall look for “La Grazia” was a quiet triumph—graceful tailoring, muted tones, and a silhouette that whispered rather than shouted.
There’s a particular kind of fashion moment that doesn’t rely on sequins or spectacle—it’s about restraint, proportion, and the kind of elegance that lingers. At the “La Grazia” photocall during the 82nd Venice International Film Festival on August 27, 2025, Anna Ferzetti delivered exactly that.
Ferzetti wore a light gray, long-sleeved dress that balanced softness with structure. The fabric appeared to be a lightweight crepe or silk blend, matte in finish, with just enough drape to suggest movement. The gathered waist detail created subtle volume without overwhelming the silhouette, while the knee-length hem kept the look grounded in modern minimalism. The cut was clean, the lines uninterrupted—an exercise in quiet precision. Though the designer remains unconfirmed at press time, the aesthetic echoed the refined simplicity of The Row or Jil Sander’s softer tailoring.
She paired the dress with white pointed-toe slingback heels—sleek, architectural, and perfectly matched to the outfit’s tonal palette. No visible jewelry, no bag. The absence of accessories wasn’t a lack—it was a choice. A deliberate one. The synergy between dress and shoe created a monochrome moment that felt fresh, not flat.
In a season dominated by maximalist statements and archival revivals, Ferzetti’s look felt like a palate cleanser. It nodded to the quiet luxury trend without veering into cliché, and it reminded us that celebrity fashion doesn’t always need to scream to be heard.
Simona Jakstaite’s one-shoulder sapphire gown—equal parts Grecian goddess and Bond femme fatale—brought high-slit heat to the “After The Hunt” red carpet in Venice.
There’s a moment every season when a dress doesn’t just walk the red carpet—it commands it. On August 29, 2025, at the 82nd Venice International Film Festival, Simona Jakstaite delivered exactly that moment at the premiere of “After The Hunt.” And she did it in royal blue.
Jakstaite’s gown was a masterclass in sculptural elegance. Cut in a rich, saturated sapphire hue, the one-shoulder silhouette featured a gathered waistline that created subtle draping across the torso—like folds of silk caught mid-breeze. The high slit, unapologetically bold, revealed matching blue stilettos that extended the monochrome fantasy from shoulder to toe. While the designer remains unconfirmed at press time, the construction hinted at the architectural finesse of Stéphane Rolland or Elie Saab’s more minimalist moments.
In a year where red carpet fashion has flirted with excess—ruffles, feathers, and metallics galore—Jakstaite’s look felt like a palate cleanser. It nodded to classic Hollywood glamour but filtered through a contemporary lens. The one-shoulder cut, the slit, the monochrome styling—it’s the kind of look that lives forever in celebrity photos , not just on the night it’s worn.
