When a sweater becomes a statement—and Julia Roberts wears it with Luca Guadagnino’s face emblazoned across her chest—you know this isn’t just a photoshoot; it’s a manifesto of creative kinship, captured in cotton and charm.
There’s something deliciously subversive about Julia Roberts arriving in Venice not in a ballgown, but in a sweater. Not just any sweater, mind you, but one emblazoned with the face of her After the Hunt director, Luca Guadagnino. It’s the kind of playful audacity that turns a red carpet moment into a cultural wink, a sartorial inside joke between collaborators who clearly adore each other’s company—and each other’s chutzpah.
Roberts’ sweater, a custom white cardigan, is the visual anchor of this spread. It’s cozy yet bold, the kind of piece that feels like a hug from a friend who also happens to be a visionary filmmaker. The garment’s oversized fit and the black-and-white portrait of Guadagnino’s face—smiling, contemplative—transform it into a wearable homage, a fashion-forward love letter to their creative partnership. Paired with rolled sleeves and an effortless, undone elegance, it’s a look that says, “We’re here to have fun, but we’re also here to make you think.”
The surrounding imagery amplifies this mood. In one shot, Roberts leans against a desk, her posture relaxed but her gaze sharp, embodying the balance of warmth and intensity that defines both her and Guadagnino’s work. The set is awash in soft, natural light, evoking the intimate, almost familial atmosphere of a director’s lair—bookshelves, a desk lamp, the tools of a storyteller’s trade. It’s as if the photoshoot itself is an extension of their film: unpretentious, but layered with meaning.
Chloë Sevigny and Ayo Edebiri, Roberts’ co-stars, bring their own distinct energy. Sevigny, in a crisp white shirt and tie, channels the intellectual rigor of her character, Alma, while Edebiri’s navy dress, adorned with sporty white stripes, hints at the youthful dynamism she brings to the project. Their poses—back-to-back, smiling—suggest a camaraderie that feels as authentic as the film’s exploration of friendship and betrayal.
The embedded text from the Variety interview reveals a collaboration fueled by mutual admiration and creative daring. Roberts’ quip about “needing more Julia” on set—referring to Guadagnino’s habit of screening her past films for inspiration—hints at a director who wears his influences on his sleeve, much like Roberts wears his face on hers. The conversation snippets scattered across the pages—playful, introspective, occasionally provocative—mirror the tone of the film itself: a blend of wit, vulnerability, and unapologetic boldness.
Guadagnino’s declaration that Roberts is “an incredible cook” who “does an amazing salmon” feels like a metaphor for her performance: nurturing, but with a bite. Meanwhile, Sevigny’s deadpan humor (“I just wanted more Julia!”) and Edebiri’s awestruck admiration for her co-stars underscore the generational and stylistic range of the cast, a dynamic that the fashion spread mirrors perfectly.
Cultural Insight
This isn’t just a photoshoot; it’s a snapshot of a moment where fashion, film, and friendship collide. The sweater, in all its cheeky glory, calls to mind the tradition of artists wearing their muses—or in this case, their directors—literalizing the idea of creative symbiosis. It’s reminiscent of the surrealist collaborations between Salvador Dalí and Elsa Schiaparelli, where art and clothing became inseparable. But it’s also deeply personal, a testament to the kind of trust and playfulness that can only exist between artists who genuinely respect each other.
The Venice Film Festival, with its history of cinematic grandeur, serves as the perfect backdrop. Roberts, a Hollywood icon, and Guadagnino, a maestro of intimate, character-driven storytelling, subvert expectations by embracing something so delightfully casual. In a world where red carpets are often synonymous with glamorous excess, this sweater feels like a breath of fresh air—a reminder that sometimes, the most powerful statements are the ones that don’t take themselves too seriously.
As the trio stands together on the cover, arms linked, smiles wide, it’s clear that After the Hunt isn’t just a film—it’s a celebration of the alchemy that happens when great minds (and great styles) collide. And if a sweater can spark this much conversation, imagine what the movie will do.
When Rosé of BLACKPINK kneels in a sea of monochrome, PUMA’s iconic leaping cat emblazoned across her chest, she doesn’t just wear the brand—she rewrites its legacy, one effortless pose at a time.
There’s a quiet confidence in the way Rosé occupies the frame—kneeling, not posing, as if she’s mid-conversation with the camera rather than performing for it. The September 2025 cover of Tune Up captures this perfectly: a study in understated power, where sporty elegance meets rockstar poise, and the boundaries between streetwear and high fashion blur into irrelevance.
Rosé’s ensemble is a masterclass in modern minimalism. The oversized black PUMA sweatshirt, its white stripes slicing through the sleeves and chest, feels both nostalgic and fresh, a nod to the brand’s heritage reimagined for a new era. The high-neck silhouette adds an unexpected sophistication, transforming athletic wear into something almost regal. Paired with wide-leg trousers that pool around her light-blue PUMA sneakers—those orange and gumsole accents popping like a secret wink—the look is a lesson in balance: relaxed yet precise, casual yet curated.
Beside her, the powder-blue PUMA Speedcat bag sits like a punctuation mark, its vintage-inspired design grounding the shoot in a timeless cool. The color palette—black, white, and that single hit of robin’s-egg blue—feels intentional, almost architectural, as if each element has been placed to create a visual rhythm.
Her hair, a cascade of platinum waves, softens the sharp lines of the outfit, while her makeup—dewy skin, a hint of blush, and a nude lip—lets the clothes (and her legendary bone structure) do the talking. The setting, a dimly lit, textured backdrop, evokes the mood of a backstage moment, intimate and unguarded.
The accompanying text in Tune Up positions Rosé as more than a muse; she’s a collaborator, a “global brand ambassador” who brings her own creative vision to PUMA’s “Rewriting the Classics” initiative. The phrase itself is telling—this isn’t about nostalgia for nostalgia’s sake, but about infusing heritage with contemporary energy. Rosé, with her solo artistry and boundary-pushing style, is the perfect conduit for this message. Her ability to merge K-pop’s vibrant aesthetic with global fashion sensibilities makes her the ideal bridge between PUMA’s past and its future.
The article’s emphasis on her “versatility” and “cultural resonance” isn’t hyperbole. Rosé doesn’t just wear the classics; she recontextualizes them, making a 90s-inspired sneaker feel as relevant as ever. When the text mentions her “effortless poise” and the “spirit of individuality,” it’s not just describing a photoshoot—it’s capturing the essence of her influence.
This shoot arrives at a moment when the lines between music, fashion, and lifestyle are more fluid than ever. Rosé, a solo artist who made history as the first K-pop act to win “Song of the Year” at the MTV VMAs, embodies this convergence. Her partnership with PUMA isn’t just about endorsement; it’s a dialogue between disciplines. The Speedcat, originally a motorsport silhouette, becomes a symbol of her own journey—fast, fearless, and constantly evolving.
In a broader sense, Rosé’s presence in campaigns like this reflects a shift in how luxury and sport are perceived. The athleisure boom of the 2020s has given way to something more nuanced: a demand for authenticity, for pieces that tell a story. PUMA, with its archives and street cred, and Rosé, with her global appeal and artistic integrity, are a match made in this new cultural landscape. Together, they’re not just selling clothes; they’re selling a mindset—one that values both heritage and innovation.
An off-the-shoulder silhouette, sculpted lines, and strappy heels — Alicia Vikander’s media event look in London channels quiet power and front row fashion finesse.
Alicia Vikander doesn’t just attend — she arrives with intent. At “The Lady from the Sea” press night at the Bridge Theatre in London, the Oscar-winning actress stepped into the spotlight with a look that whispered elegance and spoke volumes.
Her choice: a black off-the-shoulder dress with a sculpted silhouette that felt both timeless and modern. The neckline — clean, collarbone-baring — framed her shoulders with architectural precision, while the fitted bodice and tailored skirt created a column of quiet strength. The fabric, likely crepe or stretch silk, held its shape with grace, catching the warm ambient light as she moved through the venue.
Accessories were minimal, letting the dress do the talking. Black strappy high-heeled sandals added height and polish, while her hair — pulled back neatly — emphasized the neckline’s geometry. Makeup appeared soft and natural, likely a dewy base with neutral tones and subtle eye definition.
