Never one to shy from a bold aesthetic, Halsey appeared at the Venice Film Festival for the premiere of The Smashing Machine—and frankly, delivered a look that defied simple categorization.
Halsey’s red carpet arrival was nothing short of a stunning coup, showcasing an outfit that blended delicate artistry with a fierce, unapologetic attitude. The singer, whose evolution in fashion has become a major highlight for fans and critics alike, chose a dress that felt both ethereal and deeply personal.
The gown, a custom creation by Blumarine , features a luminous, buttery yellow silk fabric that drapes effortlessly, creating a statuesque silhouette. Its core design is a beautiful, intricate mesh of floral and organic appliqués that seem to float over sheer panels on the bodice and hips. This strategic placement offers a daring glimpse of skin while maintaining a sophisticated, flowing form. The halter neck and low-cut back add a modern, sleek element to the overall romantic design, proving that sensual details and elegant cuts can coexist beautifully.
The styling for this look was meticulously curated to create a cohesive, powerful statement. Halsey’s short, dark hair was styled in a sleek, cropped cut, highlighting the elegant lines of the dress. The makeup was equally striking, with a soft, warm palette centered on a bold, defined brow and a subtle, rosy lip, allowing the focus to remain on the intricate tattoos that are an integral part of her aesthetic.
The singer accessorized with a selection of rings and bracelets, all from the Damiani Mimosa collection, adding a touch of understated glamour. The combination of delicate, sparking jewelry against her tattooed skin created a compelling visual contrast—a perfect blend of hard and soft, rebellion and refinement. This cohesive approach, from the dress to the jewelry, created a memorable celebrity fashion moment that will be a benchmark for others to follow.
At the Venice Film Festival, Kaia Gerber and Lewis Pullman made their red carpet debut, with Gerber unveiling a custom Givenchy dress that masterfully fused gothic romance and classic elegance.
The first time I saw a black lace gown of this calibre—so unapologetically romantic, yet so sharp—it was in a Givenchy archive from the Hubert de Givenchy era. It was a piece designed to whisper, not scream, about its wearer’s inner world. Now, with Kaia Gerber’s look at the Venice Film Festival on September 1, 2025, that same spirit has been reanimated… and it is glorious.
The occasion was the premiere of The Testament of Ann Lee , where Gerber, alongside her co-star and partner Lewis Pullman, delivered a quiet masterclass in coordinated celebrity style . This wasn’t a look that fought for attention; it was a look that commanded respect through its sheer, delicate confidence.
The Outfit in Focus
Kaia’s gown, a stunning custom creation from Givenchy’s Fall 2025 collection by Sarah Burton, is a textural masterpiece. Crafted from a delicate black lace and embellished with a constellation of shimmering sequins, it strikes a balance between demure and daring. The silhouette is a study in classicism, with a boatneck neckline that feels lifted directly from a 1950s cinematic heroine, yet the skirt—an ethereal, semi-sheer tulle—cascades to the floor in a way that feels utterly modern and weightless. The transparency of the lace on the bodice and a subtle, high-waisted lining give the look a sensual edge, a nod to the quiet rebellion that defines a truly chic wardrobe.
Styling Cohesion
True to form, it’s the styling that elevates this from a beautiful dress to an iconic fashion moment. Kaia’s hair was pulled back into a simple, elegant bun, allowing the sculptural neckline of the dress to take center stage. Her makeup was clean and minimal, with a flawless complexion and a perfectly defined brow, a look that echoes the fresh-faced glamour of Italian actresses from the golden age.
Her accessories were a lesson in purposeful restraint. She carried a sleek, black Givenchy Fall 2025 bag that complemented the dress without distracting from it. On her feet, the choice of black Repetto Cendrillon pumps was a subtle, brilliant touch—a nod to the French heritage of the shoe, and a perfect parallel to the Givenchy’s Parisian roots. The final, unexpected flourish? A pair of Khaite x Oliver Peoples 1969C sunglasses, which she wore for a brief moment on the red carpet, a hint of nonchalant cool that brought the entire ensemble back to earth. “The look is audacious because it doesn’t need to be,” a friend and fellow fashion critic whispered to me. “It’s a look that says, ‘I am the moment, and I know it.’”
How to Channel Kaia’s Neo-Gothic Glamour
It is a difficult look to recreate, but the lessons are universal. You do not need a custom couture gown to borrow from this aesthetic.
- Embrace the Dark Romance: Look for pieces that use delicate materials like lace, mesh, or fine silk in deep, moody hues like black, charcoal, or midnight blue.
- A Modern Silhouette is Everything: The key here is to find a piece that is a study in contradictions—something with a classic neckline and a modern, fluid skirt, or an unexpected hint of sheerness.
- The Power of the Ballet Flat: As we’ve seen on the runway and now on the red carpet, the classic ballet pump is back and can be the perfect understated counterpoint to a powerful gown. It is a nod to elegance that never fades.
- Less is Truly More: When the outfit is this detailed, keep jewelry, hair, and makeup minimal. Let the dress (and you!) do the talking.
So, is this the definitive return to classic, unadulterated glamour, or just Kaia Gerber proving that a heritage dress, with the right styling, can still feel like the most revolutionary thing in the world? In Venice, at least, it was both.
Leslie Bibb’s radiant smile and jewel-drenched gown lit up Venice—her look, a playful collision of Old Hollywood charm and maximalist sparkle, felt refreshingly unafraid.
There’s a particular kind of red carpet magic that doesn’t rely on theatrics—it just beams. At the 82nd Venice International Film Festival, Leslie Bibb arrived at the Frankenstein premiere with the kind of presence that makes photographers lean in, not just click.
