Ginevra Francesconi debuts a sheer, chocolate-hued gown at the Venice Film Festival, a look that perfectly balances romantic softness with a subtle, unexpected edge.
The Venice International Film Festival is a marathon of glamour, where each event offers a new opportunity for a compelling fashion moment. For the Kineo Prize red carpet, Ginevra Francesconi opted for a beautifully nuanced look that stood out by being both demure and daring. It was a study in contrasts—soft textures and strong lines, with a color palette that felt both rich and understated.
The Italian actress wore a gown in a stunning shade of warm brown that read like chocolate-mousse. The fabric was a delicate sheer organza, draped to create an off-the-shoulder neckline that revealed a structured corset bodice underneath. The corset provided a sharp, tailored contrast to the otherwise flowing and diaphanous nature of the dress. The skirt fell in soft, gathered pleats from the waist, extending to the floor and creating a sense of graceful movement.
Simona Jakstaite leaned into operatic noir—long gloves, sheer drama, and a choker that whispered danger—at the “Jay Kelly” premiere during Venice’s 82nd edition.
There’s something deliciously subversive about a woman who smiles while dressed like a villainess from a forgotten 1930s thriller. At the 82nd Venice International Film Festival on August 28, 2025, Simona Jakstaite didn’t just walk the red carpet—she haunted it.
Jakstaite’s gown was a study in shadowplay: sheer black tulle layered over a fitted bodice, embroidered with jet-black embellishments that caught the light like sequins in a storm. The silhouette was classic femme fatale—thin straps, cinched waist, and a skirt that floated just enough to suggest movement without surrendering structure. Though the designer remains unconfirmed at press time, the craftsmanship echoed archival Galliano with a whisper of McQueen’s gothic precision.
The look was sharpened with long black opera gloves—never ironic, always intentional—and a black velvet choker that anchored the neckline with a touch of dominatrix elegance. Her strappy stilettos, also black, added verticality to the ensemble, elongating her frame without distracting from the dress’s textural complexity. No jewelry beyond the choker. No bag. No excess. Just pure editorial restraint.
And if you’re tracking the evolution of red carpet fashion this year, this appearance deserves a pin on the mood board—equal parts nostalgia and provocation.
A vision in delicate pastels, Ava Max unveils an exquisitely beaded gown for the film festival, offering a moment of pure, fairytale-like glamour that’s light-years from her pop star persona.
At the 82nd Venice International Film Festival, Ava Max took to the red carpet for the premiere of Frankenstein in a look that was a complete departure from her usual pop-forward aesthetic. It was a surprising and refreshing turn, trading in her signature sharp lines and bold colors for a dreamy, ethereal gown that felt lifted straight from a fairytale.
The dress was a marvel of soft colors and meticulous detail. The bodice, a nude or light-pink sheer fabric, was intricately adorned with a swirling pattern of mint and silver beads, creating a delicate, almost floral motif that climbed up her torso. The full, floor-length skirt was composed of layered tiers of a translucent, pastel-pink tulle, each segment stitched with horizontal rows of the same shimmering beads. This textural repetition created a mesmerizing, almost cloud-like effect that gave the dress a sense of weightless volume as she moved. The straps, thin and also beaded, gave the dress a delicate finish, letting the ornate embellishments take center stage.
