Never one to play it safe, Shailene Woodley stepped onto the red carpet at the “Christy” premiere during the Toronto International Film Festival in a bold, military-inspired ensemble.
Shailene Woodley’s look was all about sharp angles and rich texture. For the premiere, Woodley chose a striking cape-like coat from Max Mara , a piece that subverted traditional outerwear with its cropped, dramatic silhouette. The deep, olive-green wool of the Verna Camel Coat with Belt felt both luxurious and rugged. It was worn over what appeared to be a matching mini-dress, cinched at the waist with a thick tie belt. The overall effect was powerful yet playful, a perfect example of how a single garment can create an entire mood.
The Max Mara Mary Janes in leather grounded the look, their blocky heels and thick straps offering a utilitarian contrast to the flow of the cape. Woodley’s decision to pair the ensemble with sheer black tights added a classic, almost nostalgic touch, balancing the outfit’s more modern elements. She carried a sleek black bag, though its brand was not immediately visible. Minimalist jewelry, including several silver rings, completed the look, keeping the focus squarely on the bold silhouette.
Emilia Jones channels a quiet rebellion—leather, gabardine, and a gaze that doesn’t flinch—at the Toronto Film Festival’s Hollywood Reporter portrait studio.
There’s a kind of sartorial clarity that arrives when a look refuses to beg for attention. Emilia Jones, photographed at the Hollywood Reporter portrait studio during TIFF 2025 for her upcoming role in Charlie Harper , delivers just that: a study in restraint, precision, and quiet command.
The outfit unfolds like a mood board for modern noir. Jones wears an Alexander McQueen Belt Detail Leather Jacket in black—structured, cinched, and unapologetically sharp. The jacket’s matte finish and sculptural tailoring echo McQueen’s legacy of armor-as-elegance, while the belt detail adds a utilitarian edge that feels more Berlin than Beverly Hills. Beneath it, the Wool Gabardine Pencil Skirt (also McQueen) anchors the silhouette with a clean, architectural line—no frills, no fuss, just form.
Her co-star, casually draped in a multicolored argyle sweater and denim, offers a visual foil: collegiate softness against Jones’s editorial severity. But it’s Emilia’s pose—shoulders squared, gaze direct, arm gently looped—that sets the tone. There’s intimacy, yes, but also a kind of cinematic detachment. Think Rooney Mara in Carol , but with a Gen Z pulse.
Shailene Woodley channels noir futurism—belted, bold, and a little bit beastly—in a portrait session that feels more like a fashion exorcism than a press junket.
There’s something deliciously off-kilter about Shailene Woodley’s TIFF 2025 appearance for TheWrap’s Portrait Studio. Not red carpet, not street style—this is a controlled detonation of celebrity fashion norms, staged in grayscale and delivered with claws out.
Let’s start with the silhouette: a dark, belted coat with exaggerated sleeves that billow like a noir heroine’s final act. The fabric reads matte, almost armor-like, with no visible embellishment—just pure structure. It’s the kind of piece that doesn’t whisper designer; it roars concept. Whether it’s archival Yohji or a custom piece (unconfirmed at press time), the coat’s architectural heft anchors the entire look.
Accessories? Minimal, but surgical. Oversized sunglasses obscure the eyes, adding a layer of anonymity that feels intentional—Woodley isn’t here to emote, she’s here to embody. No jewelry, no bag, no distractions. The absence is the statement.
Her pose—one arm raised, the other bent—evokes movement, but also menace. It’s part flamenco, part fashion witchcraft. The monochrome palette amplifies the drama, stripping away color to leave only attitude. Lighting is stark, studio-flat, which only heightens the theatricality.
