Karen Gillan brought laid-back polish to Flushing Meadows—her flared sleeves and sneakers nodding to ‘70s ease with a Gen-Z wink (and zero fuss).
While the US Open Women’s Finals delivered high-stakes tennis on court, Karen Gillan served up a different kind of ace off it—an outfit that fused retro charm with modern streetwear sensibility. At Flushing Meadows on September 6, 2025, Gillan’s look was a masterclass in casual cool, proving that celebrity street style can be just as compelling as couture.
Her ensemble centered around a light blue button-up top, cropped and casually unbuttoned to reveal a hint of midriff. The flared sleeves added a touch of drama—think disco-era tailoring reimagined for a tennis crowd. Paired with classic blue jeans and white sneakers featuring blue accents, the look was unfussy but intentional, a nod to the kind of off-duty dressing that feels both nostalgic and fresh.
Gillan’s appearance at the US Open fits squarely into the evolving canon of celebrity style that favors authenticity over artifice. Much like Zoë Kravitz’s minimalist airport looks or Hailey Bieber’s oversized tailoring, this was a moment that felt lived-in, not staged.
Jeri Ryan kept it real at Paramount Studios—her hoodie-and-track-pants combo proving that comfort, when styled with intent, can still turn heads.
Before athleisure became a billion-dollar buzzword, Jeri Ryan was already walking the walk—literally. At the AIDS Walk L.A. held at Paramount Studios on October 14, 2000, Ryan showed up in a look that was equal parts laid-back and quietly curated, reminding us that style isn’t always about spectacle—it’s about showing up with purpose.
Her outfit was a study in clean lines and casual cohesion: a crisp white zip-up hoodie layered over black track pants with white side stripes. The silhouette was relaxed but structured, the kind of off-duty uniform that feels timeless in its simplicity. The fabric choices—likely cotton blends and lightweight synthetics—spoke to function, but the fit and finish elevated the ensemble beyond mere utility.
Sara Bluma’s halter gown—part fresco, part fashion—brought surrealist flair to Venice’s red carpet, where bold prints and personal symbolism stole the spotlight.
At the 82nd Venice International Film Festival, where cinematic storytelling meets sartorial spectacle, Sara Bluma arrived at the Elisa premiere dressed like a walking canvas—her gown a visual manifesto of myth, femininity, and graphic rebellion.
The sleeveless dress, cut in a halter silhouette, featured a light base fabric that served as backdrop to a striking front-panel design: a stylized face with elaborate hair and floral motifs, rendered in bold, almost ink-like strokes. It wasn’t just a print—it was a portrait, a statement, a mood. The fabric appeared to be a smooth satin or silk blend, allowing the artwork to hold crisp definition while catching the light with subtle sheen.
Bluma paired the look with a chunky black beaded necklace—sculptural, almost tribal in its weight—and oversized hoop earrings that added a touch of streetwise glamour. The accessories didn’t compete with the dress’s graphic intensity; they grounded it, giving the ensemble a tactile edge.
Bluma’s appearance fits seamlessly into the evolving landscape of celebrity fashion , where individuality trumps trend and prints are no longer just decorative—they’re declarative. Think of Florence Welch’s Pre-Raphaelite Gucci moments or Jodie Turner-Smith’s Afrofuturist Balmain turns. This was a look that didn’t just wear art—it became it.
