Felicity Jones channels a quiet kind of rebellion—corporate polish meets off-duty denim—in a look that feels both editorial and unmistakably lived-in.
There’s something quietly radical about Felicity Jones’ latest appearance at the Los Angeles Times Portrait Studio during the 2025 Toronto International Film Festival. No sequins, no sweeping gowns—just a masterclass in tonal dressing that whispers rather than shouts. And yet, it lingers.
Jones, promoting Train Dreams , opted for a trio of Kallmeyer pieces that reframe power dressing through a softer, more intuitive lens. The Iman Wool Blend Blazer in charcoal gray anchors the look with its structured shoulders and elongated silhouette, while the Billie Tie Wool Top—subtly cinched with a dark olive tie—adds a touch of utilitarian elegance. The Winona Jeans, high-waisted and slightly relaxed, break the formality with a deliberate nod to streetwear ease. It’s a silhouette that feels like Katharine Hepburn gone downtown.
Her footwear choice—Jimmy Choo’s Isa Pumps—grounds the ensemble in classic femininity, though the muted tone keeps it from veering into overt glamour. No jewelry, no bag, no distractions. Just hands-on-hips confidence and a direct gaze that says: this is intentional.
The lighting in the studio is soft, almost painterly, casting gentle shadows that highlight the texture of the wool and the subtle sheen of the denim. Jones’ pose—upright, centered, unflinching—feels editorial but not posed. It’s the kind of image that could live in a gallery as easily as it does in a press kit.
Hair and makeup follow suit: a clean middle part, tucked behind the ears, with minimal styling. Her skin appears fresh, with a barely-there flush and neutral lip. The overall mood? Controlled, cerebral, and quietly magnetic.
This look taps into a broader movement we’ve seen across celebrity style this season—where the lines between red carpet, streetwear, and press junket blur into a kind of hybrid uniform. It’s not about spectacle anymore; it’s about resonance.
Felicity Jones trades red-carpet glamour for moody insouciance—leaning into a ’70s-meets-cyberpunk hybrid at TheWrap’s TIFF portrait studio that feels both timeless and eerily prescient (who knew a blazer could channel Blade Runner’s soul?).
Felicity Jones, ever the chameleon, delivered a masterclass in understated rebellion at TheWrap’s Toronto International Film Festival portrait studio. The setting—a shadow-drenched corner, all raw plaster and golden-hour melancholy—became the perfect foil for her ensemble: a study in texture, tension, and quiet audacity.
Jones’s look hinges on Kallmeyer’s Iman Wool Blend Blazer , a piece that marries the rigidity of menswear tailoring with the fluidity of a lived-in silhouette. The fabric, a deep charcoal wool blend, whispers rather than shouts, its subtle herringbone weave catching the light like a half-remembered secret. Paired with the Kallmeyer Billie Tie Wool Top —a cream confection that softens the blazer’s severity—the ensemble walks the line between boardroom authority and off-duty insouciance.
Below, the Kallmeyer Winona Jeans ground the look in effortless cool. Their wide-leg cut and faded indigo hue evoke a ’70s nonchalance, while the slight fray at the hem hints at a life lived beyond the studio’s four walls. It’s a deliberate clash: the precision of the blazer against the jeans’ laid-back slouch, a sartorial yin-yang that feels both intentional and effortless.
Jones’s Jimmy Choo Isa Pumps —a sleek, pointed-toe style in black—elongate her frame and add a razor’s edge to the ensemble. The pumps’ minimalist design ensures they don’t compete with the blazer’s drama but rather amplify it, like the bassline in a jazz standard. Notably absent are any flashy accessories; here, the focus is on the interplay of fabric and form, not embellishment.
Emma Roberts brought a flash of crisp minimalism to the chaos of the 2025 US Open—her off-duty look, all white and winking, felt like tennis-core gone editorial.
There’s something quietly radical about showing up to a high-profile sports event dressed like you’re headed to a Helmut Lang casting call. Emma Roberts, never one to overplay her hand, arrived at the men’s final of the 2025 US Open at the USTA Billie Jean King National Tennis Center on September 7 with a look that whispered rather than shouted—and that whisper was pure fashion fluency.
Let’s start with the shirt: a classic white button-up, but not the corporate kind. This one had a relaxed cut, slightly oversized through the shoulders, with crisp cuffs and a collar that sat just-so—neither stiff nor slouchy. The fabric read as cotton poplin, breathable and matte, catching the daylight with a subtle texture that felt more editorial than errand-run. It’s the kind of piece that could’ve walked off a Khaite showroom rack or been plucked from a stylist’s archive of “timeless essentials.”
But the real punctuation came via accessories. Roberts paired the shirt with rectangular white sunglasses—bold, graphic, and unapologetically retro. Think mid-’90s Versace meets Gen Z irony. The frames were thick, almost toy-like, and they framed her face with a kind of pop-art precision. No jewelry, no bag in sight—just the glasses, the shirt, and that unmistakable Roberts smile.
