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.
Maude Apatow swaps Hollywood’s glitz for a whisper-soft gingham reverie—her TheWrap portrait at TIFF 2025 is less about spectacle and more about the quiet power of a dress that feels like a second skin (or perhaps a love letter to a bygone era).
Maude Apatow has long been a standout in the realm of celebrity style , but her latest appearance at TheWrap’s Toronto International Film Festival portrait studio might just be her most compelling yet. In an industry often dominated by sequins and statement-making, Apatow’s choice—a delicate gingham dress—feels like a breath of fresh air, a sartorial pause button in a world that’s always fast-forward.
The dress, a soft gingham in pale cream and muted gold, is a study in understated elegance. The fabric appears lightweight, almost ethereal, with a subtle sheen that suggests a blend of cotton and silk. The pattern—small, even squares—is classic, but the cut is anything but: a Peter Pan collar frames her face, while the short sleeves and knee-length hem lend a youthful, almost schoolgirl charm. Yet, the way the dress skims her form, neither clinging nor billowing, speaks to a maturity and confidence that transcends the fabric’s innocence.
The silhouette is deceptively simple. The bodice is structured just enough to define her waist, while the skirt flares gently, creating movement without volume. It’s the kind of dress that feels timeless, as if it could belong to any decade—or perhaps to none at all.
Apatow’s hair is styled in a soft, chin-length bob , its rich auburn hue complementing the warm tones of the dress. The cut is blunt but not severe, framing her face in a way that feels both modern and timeless. Her makeup is equally understated: a hint of mascara, a wash of neutral shadow, and lips that look naturally flushed, as if she’s just stepped in from a brisk autumn walk.
The overall effect is one of effortless cohesion . There’s no competition between the dress, the hair, and the makeup—just a harmonious blend of elements that feel as though they’ve always belonged together.
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.
