Julia Ducournau’s opening night look was pure cinematic tension—pleated black silk, sculptural accessories, and a mood that whispered Hitchcock with a hint of punk.
There’s something about Julia Ducournau that resists easy categorization—her films, her presence, her fashion choices. At the La Grazia Opening Night Gala Premiere during the 82nd Venice International Film Festival, she arrived in a look that felt like a director’s cut of elegance: moody, minimal, and meticulously composed.
In a sea of sequins and tulle, Ducournau’s floor-length black gown offered a masterclass in restraint. It didn’t need embellishment—it had atmosphere.
The sleeveless gown was rendered in a pleated black fabric that moved like shadow—fluid, but never fussy. The texture gave the dress depth, catching the light in subtle waves as she walked. The silhouette was classic with a twist: fitted through the bodice, then falling into a soft A-line that skimmed the floor without dragging. The designer remains unconfirmed at press time, but the craftsmanship suggests a house fluent in architectural minimalism—perhaps Jil Sander or a custom piece from Haider Ackermann.
This look taps into a broader movement in red carpet fashion—one that favors texture over sparkle, silhouette over spectacle. It’s a nod to the kind of elegance that doesn’t need to shout. Is this the rise of auteur chic? Or just Ducournau showing us how to dress like a director without losing the drama?
Never one to shy from spectacle, Noomi Rapace infused tailored precision with a modern edge in her much-anticipated (and utterly chic) appearance at the Venice International Film Festival.
Noomi Rapace has the honour of opening our 2025 Venice Film Festival fashion account, stepping out this afternoon for the photocall of her new film Mother.
The Swedish actress arrived in a Fendi Fall 2025 single-breasted tailored suit , which at first glance could’ve read as classic menswear, but the satin side flaps added a contemporary edge that instantly elevated the tailoring. The rich, earthy brown hue of the suit — a sophisticated choice – provided a compelling contrast to the vibrant blue backdrop, highlighting its impeccable cut and the luxurious texture of the fabric. Rapace’s pose exudes a quiet confidence, hands casually in pockets, embodying an effortless cool.
As you know, I wasn’t sold on Pierce Brosnan’s recent Brioni brown suit at The Thursday Murder Club London premiere. But on Noomi? It works. The brown feels richer, the tonal mix adds dimension, and paired with her dark hair, I’m buying the look entirely. Her dark hair, pulled back into a sleek, understated style, perfectly complements the strong lines of the suit, while her minimal makeup allows her natural features to shine.
And then there’s the finishing touch: printed pumps. It’s such a small detail, but they inject personality into the look, a subtle playfulness against the tailored seriousness. These metallic, perhaps snake-effect, heels add a touch of unexpected glamour, cementing the ensemble as a masterclass in sophisticated yet edgy celebrity style .
Sophia Di Martino’s red carpet look was a study in tactile minimalism—black-on-black textures, a sculptural belt, and just enough attitude to keep it interesting.
There’s a particular kind of red carpet appearance that doesn’t rely on sparkle or volume—it leans into texture, silhouette, and presence. At the premiere of Broken English during the 82nd Venice International Film Festival, Sophia Di Martino delivered exactly that: a look that felt like a quiet rebellion against over-styling.
In a sea of gowns and glitter, Di Martino’s two-piece black ensemble stood out for its restraint—and its refusal to play by traditional red carpet rules.
The cropped top, cut with three-quarter sleeves, was rendered in a subtly textured black fabric that caught the light without shouting. Paired with high-waisted bottoms—likely a skirt or tailored trousers—the look was cinched at the waist with a belt featuring a bold circular buckle. The silhouette was clean, almost utilitarian, but the texture gave it depth. It was the kind of outfit that reads differently depending on the angle, the lighting, the mood. While the designer remains unconfirmed at press time, the aesthetic suggests a label like The Row or Stella McCartney—brands that understand how to make minimalism feel rich.
Di Martino kept accessories tight and intentional: a gold wristwatch added a hint of polish, while a pair of sunglasses (held, not worn) suggested a touch of off-duty cool. No earrings, no necklace, no clutch. Just the essentials, styled with precision.
