Elle Fanning trades red carpet theatrics for studio serenity—Chanel, Cartier, and a metallic Louboutin whispering quiet luxury at the Toronto Film Festival.
In a moment that felt more editorial than promotional, Elle Fanning appeared at The Hollywood Reporter’s portrait studio during the 2025 Toronto International Film Festival for Sentimental Value —and the fashion was anything but sentimental.
Fanning’s look was a masterclass in tonal layering and textural finesse. She wore a piece from Chanel Resort 2026, a collection already praised for its nostalgic futurism and soft rebellion. The silhouette was tailored yet fluid, with a muted palette that let the fabric speak: think silk crepe with a whisper of sheen, cut to skim rather than cling. It’s Chanel doing restraint, and Fanning wearing it with the kind of ease that only comes from years of red carpet fluency.
Her footwear added a flicker of drama— Christian Louboutin’s Miss Z Metallic Leather Pumps , which caught the studio lights like a flashbulb in motion. The silver tone didn’t scream; it shimmered. Paired with a Cartier 18 Karat White Gold Five Row Diamond Eternity Ring, the accessories leaned into quiet opulence. No bag, no earrings, no overstatement—just precision.
Shailene Woodley didn’t just attend the Motor City premiere at TIFF—she orchestrated a quiet coup in camel velvet, proving once again that understatement is the new spectacle (and that the rest of us should probably just surrender now).
There’s a particular kind of magic that happens when an actress known for her effortless, earthy charm steps into a look that’s equal parts architectural and inviting. At the Motor City press studio during the 2025 Toronto International Film Festival, Shailene Woodley did just that—transforming a simple staircase into a runway for what can only be described as a masterclass in modern minimalism.
The centerpiece? A Max Mara Verna Camel Coat with Belt , a piece so luxuriously understated it borders on subversive. The coat, draped in a sumptuous velvet fabric, wraps Woodley in a cocoon of warm camel—its rich texture catching the light like a whispered secret. The silhouette is deceptively simple: a structured collar, three-quarter sleeves, and a belted waist that cinches the look into something both polished and effortless. The coat’s mid-thigh length plays with proportion, offering a nod to the ’70s while feeling entirely of-the-moment.
Woodley’s styling choices are a lesson in restraint with impact. Her Max Mara Mary Janes in Leather —classic, pointed, and unadorned—elongate her frame and ground the look in timeless elegance. The shoes’ dark hue provides a stark contrast to the coat’s warmth, creating a visual rhythm that’s as pleasing as it is intentional. And then there’s the ring, a delicate gold band on her left hand, catching the light just enough to remind us that sometimes, less truly is more.
This isn’t just an outfit; it’s a statement. In an era where red carpet looks often veer toward the extravagant, Woodley’s choice to embrace quiet luxury is a refreshing pivot. The velvet coat, with its tactile richness, evokes a sense of nostalgia—harking back to the tactile glamour of Old Hollywood , while the clean lines and modern cut keep it firmly rooted in 2025. It’s a look that whispers rather than shouts, a rebellion against the noise of fast fashion and fleeting trends.
Emilia Jones channels a quiet rebellion—leather, gabardine, and a gaze that doesn’t flinch—at the Toronto Film Festival’s Hollywood Reporter portrait studio.
There’s a kind of sartorial clarity that arrives when a look refuses to beg for attention. Emilia Jones, photographed at the Hollywood Reporter portrait studio during TIFF 2025 for her upcoming role in Charlie Harper , delivers just that: a study in restraint, precision, and quiet command.
The outfit unfolds like a mood board for modern noir. Jones wears an Alexander McQueen Belt Detail Leather Jacket in black—structured, cinched, and unapologetically sharp. The jacket’s matte finish and sculptural tailoring echo McQueen’s legacy of armor-as-elegance, while the belt detail adds a utilitarian edge that feels more Berlin than Beverly Hills. Beneath it, the Wool Gabardine Pencil Skirt (also McQueen) anchors the silhouette with a clean, architectural line—no frills, no fuss, just form.
Her co-star, casually draped in a multicolored argyle sweater and denim, offers a visual foil: collegiate softness against Jones’s editorial severity. But it’s Emilia’s pose—shoulders squared, gaze direct, arm gently looped—that sets the tone. There’s intimacy, yes, but also a kind of cinematic detachment. Think Rooney Mara in Carol , but with a Gen Z pulse.
