Meghann Fahy wore a sheer maroon floor-length gown with a Tiffany & Co. Schlumberger Vigne Ring to the Palm Springs International Film Festival.
The lighting is flat, almost clinical, but the dress manages to hold its own. It is a deep, bruised plum—or maybe a dark maroon—rendered in a sheer fabric that feels more like a quiet suggestion than a loud statement. Meghann Fahy stands there, hands clasped, looking remarkably composed for someone wearing what is essentially a tinted veil. There is a strange, frozen grit to the way the hem pools at her feet, hiding the shoes entirely. It is a best dressed contender for the sheer audacity of its simplicity.
The Tiffany & Co. Schlumberger Vigne Ring provides the only real spark. It sits on her finger, a small knot of intricate gold and stone, breaking up the monochromatic flow. Without it, the celebrity look might feel too skeletal, too much like an unfinished thought. Instead, the jewelry anchors the gown , giving the red carpet fashion a necessary touch of the tangible.
Ashley Greene wore multiple distressed and edgy outfits for her Maxim 2009 editorial photoshoot featuring denim cut-offs, leather jackets, and industrial hardware.
There is a specific, jagged energy in these frames. One shot shows a grey marl tank top, so thin it is almost a ghost, paired with denim shorts that are more fringe than fabric. It looks like a Sunday morning that got out of hand. The studio light is harsh, flat, catching the frozen grit of the frayed denim. It is a celebrity photoshoot that does not care about being tidy. She is pulling at the hem of the shirt, a gesture that feels spontaneous, maybe even a little impatient.
The mood shifts into something more deliberate, almost melodramatic even, with a black minidress featuring a zipper that looks heavy enough for a piece of luggage. The industrial silver pull cuts right down the center. It is a styled shoot that leans hard into that 2009 obsession with “tough” femininity. Layered necklaces with cross pendants and small daggers dangle over a black bodysuit, creating a visual noise that is both distracting and somehow necessary. It is a bit of a lavish mess of hardware against skin.
The 2006 Lionel Deluy session with Ashley Greene feels like a fever dream of mid-noughties saturation. It is a celebrity beauty look pushed through a high-contrast filter. Across the various frames, the energy is restless. The makeup is not just applied; it is lived in. There is a specific, foolish glamour to the way the light catches the radiant skin , which looks almost waxy under the studio strobe, far from the velvet mattes we see today. It is all very tactile. Very immediate.
One moment she is sporting a bold lips moment—a deep, bruised berry that feels a bit too heavy for the lighting—and the next, it is all about the smokey eye . But the shadow is not blended into a perfect gradient; it is a bit soot-like, a bit raw. It feels like a makeup inspiration pulled from a late-night music video. The hair style transitions are just as abrupt. We see those era-defining hair trends : the extreme side-part, the piecey layers that look slightly crunchy with product, and a volume that feels a bit melodramatic even for a commercial shoot.
On October 30, 2025, Meghann Fahy attended the TIME100 Next Gala at The Current at Chelsea Piers in New York City, delivering a red carpet fashion moment that fused ruffle-coded elegance with editorial silhouette control.
For her red carpet arrival at TIME’s celebration of emerging global influence, Meghann Fahy stepped into the spotlight wearing a look that redefined celebrity dresses through texture logic, silhouette layering, and couture rhythm.
She wore a Chloe ruffled bralette in silk mousseline and lace , paired with a tiered maxi skirt in washed silk taffeta — a voluminous rust-toned piece that introduced architectural movement and editorial punctuation. The cream-colored crop top added tonal contrast and softness, while the layered skirt anchored the ensemble in sculptural drama.
Fahy accessorized with a Tiffany & Co. Schlumberger Sixteen Stone Ring and the Bird on a Rock Pendant in platinum and gold with diamonds , injecting sparkle logic and institutional clarity. Her styling — pulled-back hair , bare neckline , and confident pose — turned the branded backdrop into a fashion moment vignette , where elegance was defined by edit, posture, and presence.
Fahy’s styling reflects the 2025 trend of ruffle-coded couture fashion , where volume and texture are reimagined for designer outfit modularity . The Chloe ensemble — romantic yet sculptural — channels the rise of red carpet arrivals punctuation , while the crop-and-maxi pairing introduces celebrity look rhythm .
The pendant adds iconic appearance symbolism , and the rust palette injects best dressed clarity . In a landscape where red carpet fashion often leans toward minimalism or embellishment excess, Fahy’s ensemble signals a pivot toward editorial silhouette storytelling — where elegance is defined by mood, message, and sculptural control.
This moment also aligns with the growing wave of institutional fashion narratives , where TIME100 honorees merge personal style with cultural relevance. Fahy’s look speaks to confidence, authorship, and the quiet power of a well-edited ensemble designed for recognition, rhythm, and editorial impact — even when the carpet is red and the spotlight is legacy-coded.
