In a sea of cinematic spectacle, Chloe Zhao chose quiet elegance—her long-sleeved lace gown at TIFF whispered restraint, but the message was unmistakably bold.
Chloe Zhao doesn’t dress for noise. She dresses for nuance. At the September 7 premiere of Hamnet during the 2025 Toronto International Film Festival, Zhao stepped onto the red carpet with the kind of sartorial clarity that feels increasingly rare—especially in an era of hyper-styled celebrity fashion.
Zhao’s gown was a study in monochromatic texture: a floor-length white dress rendered in delicate lace, with long sleeves that added a sense of modesty without muting the impact. The lace pattern—floral but not fussy—offered a tactile richness that caught the light in soft, diffused waves. The silhouette was columnar, almost ecclesiastical in its simplicity, skimming the body without clinging. While the designer remains unconfirmed at press time, the craftsmanship suggests a label fluent in poetic minimalism—perhaps Simone Rocha or even an archival Chloé moment.
Her footwear—a pair of understated brown shoes—felt like a deliberate break from the expected. No metallics, no stilettos. Just grounded, earthy contrast. Jewelry was either absent or so discreet it barely registered, allowing the lace to carry the visual weight. This was styling that resisted the urge to over-decorate, instead leaning into the power of restraint.
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Jessie Buckley’s TIFF arrival was anything but expected—her off-shoulder satin-and-jumpsuit hybrid blurred red carpet codes with a dash of theatrical rebellion.
Jessie Buckley doesn’t just wear clothes—she performs them. At the September 7 premiere of Hamnet during the 2025 Toronto International Film Festival, Buckley stepped onto the Roy Thomson Hall red carpet with a look that felt like a character study in contrast: part stage drama, part streetwise elegance.
Her ensemble—a black jumpsuit paired with an off-the-shoulder cream satin top—was a clever collision of structure and softness. The jumpsuit’s tailored lines grounded the look in modern minimalism, while the satin overlay added a romantic flourish, draped just enough to evoke vintage opera gloves without veering into costume. The fabric contrast—matte black against luminous cream—created a visual tension that felt deliberate, almost architectural. While the designer remains unconfirmed at press time, the silhouette suggests a custom piece, possibly from a British atelier known for theatrical tailoring (think Roksanda or Emilia Wickstead).
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Da’Vine Joy Randolph brought high-drama minimalism to Roy Thomson Hall—her textured black gown whispered old Hollywood, but the mood was unmistakably modern.
There’s something quietly radical about Da’Vine Joy Randolph’s red carpet presence. At the 50th Toronto International Film Festival, where cinematic legends and rising auteurs collide, Randolph arrived at the premiere of Eternity not with flash, but with form—her look a masterclass in restraint that still managed to command the lens.
The gown, a floor-length black sheath with a sculptural silhouette, played with texture rather than embellishment. Its subtle patterning—almost reptilian in its depth—caught the light in waves, giving the illusion of movement even as Randolph stood still. The cut was clean, almost architectural, hugging her frame with precision and poise. While the designer remains unconfirmed at press time, the craftsmanship suggests a house fluent in quiet power—think The Row or Alaïa, not prone to excess but fluent in impact.
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