Kaia Gerber wore a custom Givenchy white lace gown with Santangelo jewelry at the Academy Museum Gala in Los Angeles on October 18, 2025.
On October 18, 2025, Kaia Gerber attended the Academy Museum of Motion Pictures 5th Annual Gala in Los Angeles , arriving in a look that merged ethereal delicacy with couture precision. She wore a custom Givenchy gown , a floor‑length, sleeveless creation in white lace with a sheer overlay and floral embroidery . The semi‑transparent design revealed a white underlayer, balancing sensuality with refinement.
Her accessories included the Santangelo Venezia Belt and Santangelo Genesis ’88 Earrings , subtle yet sculptural pieces that added a contemporary edge to the romantic gown. With her dark brown hair styled straight to the shoulders and minimal additional adornment, Gerber allowed the interplay of lace and transparency to remain the focal point.
This appearance reflected the 2025 fascination with sheer couture gowns , where transparency is used to project both vulnerability and strength. Givenchy’s custom work has long been associated with architectural lace and modern romanticism , and Gerber’s choice aligned seamlessly with this ethos.
In the broader context of red carpet fashion , her look exemplifies how stars now embrace designer outfits that merge archival codes with contemporary styling . By pairing a delicate lace gown with Santangelo’s sculptural jewelry, Gerber reinforced her reputation for fashion moments that balance softness with edge , ensuring her presence was among the best dressed of the evening .
Dakota Fanning wore a Giorgio Armani Spring 1996 archival gown in cream with black floral patterns at the Academy Museum Gala in Los Angeles on October 18, 2025.
On October 18, 2025, Dakota Fanning attended the Academy Museum of Motion Pictures 5th Annual Gala in Los Angeles , wearing a look that underscored the red carpet’s current fascination with archival couture. She selected a Giorgio Armani Spring 1996 gown , a floor‑length design in cream with black floral patterns that combined a fitted bodice with a full skirt . The gown’s restrained palette and timeless silhouette projected elegance rooted in Armani’s minimalist codes of the 1990s.
Her long, straight blonde hair framed the look with simplicity, while minimal jewelry—a bracelet and necklace—ensured the archival gown remained the focal point. The styling emphasized restraint, allowing the historical significance of the piece to resonate without distraction.
This appearance reflected the 2025 trend of archival fashion revival , where stars embrace historic runway pieces to project both fashion literacy and cultural depth. Armani’s Spring 1996 collection, celebrated for its pared‑back sophistication and floral motifs, found new resonance in Fanning’s interpretation.
In the broader context of red carpet fashion , her look exemplifies how stars now embrace designer outfits as cultural artifacts , reintroducing past collections into contemporary discourse. By selecting an archival Armani gown, Fanning reinforced her reputation for fashion moments that balance nostalgia with modern relevance , ensuring her presence was among the best dressed of the evening .
Rebecca Hall wore a Thom Browne Spring 2026 trompe‑l’œil bodysuit with a black floor‑length skirt at the Academy Museum Gala in Los Angeles on October 18, 2025.
On October 18, 2025, Rebecca Hall attended the Academy Museum of Motion Pictures 5th Annual Gala in Los Angeles , wearing one of the evening’s most cerebral and conversation‑starting ensembles. She chose a Thom Browne Spring 2026 trompe‑l’œil bodysuit , designed with a three‑dimensional, body‑mapped illusion in muted tones of grey, ivory, and black . On the runway, the piece was styled with pleated mini‑skirts and striped socks, but Hall made the deliberate choice to ground the surrealism with a floor‑length black skirt featuring a high slit , transforming the avant‑garde top into a red carpet‑ready statement.
Her styling was minimal— black open‑toe heels and a single ring —allowing the bodysuit’s sculptural artistry to remain the focal point. The result was a look that balanced provocation with restraint, artistry with wearability.
This appearance reflected the 2025 fascination with avant‑garde couture on the red carpet , where surrealist design elements are recontextualized for formal events. Thom Browne’s trompe‑l’œil techniques, long celebrated in fashion circles for their wit and architectural precision, found new resonance in Hall’s interpretation.
In the broader context of red carpet fashion , her look exemplifies how stars now embrace designer outfits as intellectual statements . By pairing a provocative bodysuit with a classic skirt, Hall demonstrated how celebrity fashion moments can function as both art and attire—ensuring her presence was among the best dressed of the evening while sparking dialogue about the role of surrealism in haute couture.
