In a sea of speed and spectacle, Kerry Condon brought quiet edge to the F1 premiere—her textured black gown a study in restraint and rebellion.
At the New York City premiere of F1: The Movie , Kerry Condon didn’t chase the flash of the cameras—she absorbed it. On a gray carpet flanked by high-octane branding and motorsport bravado, Condon’s look offered a counterpoint: sleek, shadowy, and unmistakably intentional.
Her sleeveless black gown, long and lean, featured a semi-sheer textured overlay that played with light and depth. The fabric—somewhere between lace and mesh—created a subtle grid of shimmer and opacity, hinting at movement without ever losing its composure. It was the kind of dress that doesn’t scream for attention but earns it through detail.
No embellishments, no theatrics. Just a watch on her left wrist—possibly Cartier or Omega, though unconfirmed—and a stance that said she knew exactly what she was doing. Her hands, clasped gently in front, added to the composed energy of the look.
Hair was worn long and wavy, cascading over her shoulders in soft, undone ripples. Makeup followed suit: a natural base, muted lips, and a touch of definition around the eyes. The overall effect? A kind of cinematic minimalism—think Carol meets Drive .
In a cultural moment where celebrity style often leans maximalist, Condon’s appearance felt like a palate cleanser. No logos, no loud colors—just a woman, a dress, and a premiere that didn’t need more noise.
With candy-colored gems and a whisper of whimsy, Maya Hawke channels Prada’s playful elegance in the Couleur Vivante collection—proof that fine jewelry can flirt.
Maya Hawke has always danced on the edge of indie charm and high-fashion polish. But in Prada’s Couleur Vivante jewelry collection, unveiled this September, she leans fully into the latter—while keeping her signature offbeat pulse intact.
The look is deceptively simple: a sleeveless, light-toned top against a soft blue backdrop. But the real story lives in the accessories. Hawke wears two standout pieces—a bracelet and a necklace—each anchored by a heart-shaped pink gemstone that feels lifted from a pop-art dream. The bracelet, a vivid orange band, wraps the wrist with a playful punch, while the necklace’s cool blue hue offers contrast and calm. Together, they evoke a kind of chromatic flirtation—like Warhol meets Milanese restraint.
Prada’s Couleur Vivante line is all about emotional color theory, and Hawke’s styling nails the brief. The heart motif, often overused in commercial jewelry, feels fresh here—thanks to the unexpected palette and the clean, sculptural setting.
Her hair, worn loose in soft waves, and minimal makeup allow the jewelry to take center stage. No smoky eye, no red lip—just luminous skin and a barely-there gloss. It’s a styling choice that speaks volumes: let the pieces speak, and they’ll sing.
In a season where celebritry fashion often leans maximalist, Hawke’s approach is a reminder that color, when used with intention, can be louder than sparkle.
So, is this Prada’s answer to dopamine dressing in jewel form—or just Maya Hawke proving that heart-shaped gems don’t have to be saccharine? Either way, we’re listening.
Clara Galle’s layered shimmer and embroidered romance—equal parts fairy tale and futurism—turned the Venice red carpet into a cinematic mood board of haute nostalgia.
There’s something quietly radical about Clara Galle’s entrance at the 82nd Venice International Film Festival. While others chased shock value or sculptural extremes, Galle opted for a gown that whispered—then roared.
The look unfolded like a storybook with a glitch in the matrix. Her strapless, floor-length gown featured a fitted bodice embroidered with delicate vine motifs, rendered in pastel threads and subtle metallics. The embroidery didn’t just decorate—it anchored the silhouette, drawing the eye upward before releasing into a voluminous skirt composed of horizontal layers. Each tier shimmered with a silvery iridescence, catching the light like ripples on Venetian water.
Though the designer remains unconfirmed at press time, the craftsmanship suggests a couture house fluent in romantic maximalism—think Elie Saab’s textural storytelling or Giambattista Valli’s layered theatrics.
Accessories were minimal, almost reverent. No statement necklace, no clutch vying for attention. Instead, Galle let the gown speak, pairing it with understated jewelry—likely diamond studs and a whisper-thin bracelet. Her shoes, barely visible beneath the cascading skirt, appeared to be classic satin pumps, chosen for function more than flash.
