Rose Bertram’s red carpet return—equal parts old Hollywood and modern edge—delivered a satin masterclass in sculptural glamour at Venice’s cinematic apex.
There’s something quietly radical about a woman who knows exactly how to command a red carpet without theatrics. At the 82nd Venice International Film Festival, Rose Bertram did just that—arriving at the premiere of The Last Viking in a look that whispered elegance but refused to be ignored.
Bertram’s strapless gown, rendered in a high-sheen crimson satin, was a study in controlled drama. The fabric caught the light like lacquered silk, its smooth surface amplifying the sculptural cut. A gathered detail at the hip—cinched with a brooch that felt more architectural than ornamental—created a subtle asymmetry that broke the gown’s otherwise fluid silhouette. The fit was precise, almost corset-like, but without the stiffness. It was red carpet tailoring at its most refined.
In a sea of maximalist statements and viral bait, Rose Bertram’s appearance was a reminder that red carpet fashion doesn’t need to shout to be heard.
Sofie Grlbrl delivered a masterclass in moody elegance—her sequined black gown, hands-in-pockets stance, and cinematic poise felt like a noir heroine reborn.
There’s something quietly defiant about a woman who walks the red carpet with her hands tucked into her gown. At the 82nd Venice International Film Festival, Sofie Grlbrl didn’t just attend the premiere of The Last Viking —she claimed it.
The look? A strapless, floor-length black gown drenched in sequins that caught the light like wet asphalt under moonlight. The fabric shimmered with a subtle menace, refusing to sparkle in the traditional sense. It was less “look at me” and more “try to ignore me.” The silhouette was clean, architectural even—structured bodice, fluid skirt, and yes, functional pockets. A rare fusion of couture and cool.
No visible jewelry. No clutch. No distractions. The absence of accessories felt intentional, almost confrontational. In a sea of embellishment, Grlbrl’s restraint read as radical. Her pose—shoulders relaxed, gaze steady—suggested a woman who knows the power of stillness.
Zoey Deutch brought quiet luxury to Colorado—her Telluride appearance was less red carpet spectacle, more a masterclass in tactile restraint and modern elegance.
There’s a certain kind of fashion moment that doesn’t scream—it hums. At the 2025 Telluride Film Festival, Zoey Deutch stepped into that rarefied space with a look that whispered sophistication in every stitch. Against the rustic brick backdrop of Telluride’s historic venues, Deutch’s ensemble felt like a deliberate pause in a world of overstyled chaos.
Let’s start with the foundation: The Row’s Fayette Top in cashmere, rendered in a soft beige that echoed the sandstone hues of the Colorado landscape. The silhouette was clean, almost monastic—long sleeves, a relaxed drape, and a neckline that invited, rather than demanded, attention. Paired with tailored black trousers, the look balanced warmth and structure, a nod to the transitional season without veering into predictability.
But it was the accessories that elevated the moment from minimalist to meditative. Deutch layered Tiffany & Co.’s Elsa Peretti Bean Design Necklace with the Cabochon and Bone rings—each piece sculptural, organic, and quietly iconic. The jewelry didn’t compete with the outfit; it conversed with it. A Celine shiny calfskin clutch added a subtle gloss, while Acne Studios’ Bertine square-toe boots grounded the look with architectural intent.
Her styling was equally restrained. Hair parted center and pulled back with a soft finish—no lacquered shell, just lived-in polish. Makeup leaned neutral: a hint of rose on the lips, barely-there contour, and brows that framed without fuss. The overall mood? Think Carolyn Bessette meets Telluride indie darling.
Deutch’s pose—relaxed, smiling, sunglasses tucked into her shirt—suggested a woman who knows her angles but doesn’t need to weaponize them. There’s a confidence in understatement, and she wore it like a second skin.
In a season where maximalism still clings to relevance, Zoey’s Telluride look felt like a quiet rebellion. It’s the kind of styling that earns its place not through spectacle, but through intention. And in the ever-evolving landscape of celebrity style , that’s a statement worth listening to.
