Simona Jakstaite leaned into operatic noir—long gloves, sheer drama, and a choker that whispered danger—at the “Jay Kelly” premiere during Venice’s 82nd edition.
There’s something deliciously subversive about a woman who smiles while dressed like a villainess from a forgotten 1930s thriller. At the 82nd Venice International Film Festival on August 28, 2025, Simona Jakstaite didn’t just walk the red carpet—she haunted it.
Jakstaite’s gown was a study in shadowplay: sheer black tulle layered over a fitted bodice, embroidered with jet-black embellishments that caught the light like sequins in a storm. The silhouette was classic femme fatale—thin straps, cinched waist, and a skirt that floated just enough to suggest movement without surrendering structure. Though the designer remains unconfirmed at press time, the craftsmanship echoed archival Galliano with a whisper of McQueen’s gothic precision.
The look was sharpened with long black opera gloves—never ironic, always intentional—and a black velvet choker that anchored the neckline with a touch of dominatrix elegance. Her strappy stilettos, also black, added verticality to the ensemble, elongating her frame without distracting from the dress’s textural complexity. No jewelry beyond the choker. No bag. No excess. Just pure editorial restraint.
And if you’re tracking the evolution of red carpet fashion this year, this appearance deserves a pin on the mood board—equal parts nostalgia and provocation.
Simona Jakstaite’s one-shoulder sapphire gown—equal parts Grecian goddess and Bond femme fatale—brought high-slit heat to the “After The Hunt” red carpet in Venice.
There’s a moment every season when a dress doesn’t just walk the red carpet—it commands it. On August 29, 2025, at the 82nd Venice International Film Festival, Simona Jakstaite delivered exactly that moment at the premiere of “After The Hunt.” And she did it in royal blue.
Jakstaite’s gown was a masterclass in sculptural elegance. Cut in a rich, saturated sapphire hue, the one-shoulder silhouette featured a gathered waistline that created subtle draping across the torso—like folds of silk caught mid-breeze. The high slit, unapologetically bold, revealed matching blue stilettos that extended the monochrome fantasy from shoulder to toe. While the designer remains unconfirmed at press time, the construction hinted at the architectural finesse of Stéphane Rolland or Elie Saab’s more minimalist moments.
In a year where red carpet fashion has flirted with excess—ruffles, feathers, and metallics galore—Jakstaite’s look felt like a palate cleanser. It nodded to classic Hollywood glamour but filtered through a contemporary lens. The one-shoulder cut, the slit, the monochrome styling—it’s the kind of look that lives forever in celebrity photos , not just on the night it’s worn.
Ginevra Francesconi debuts a sheer, chocolate-hued gown at the Venice Film Festival, a look that perfectly balances romantic softness with a subtle, unexpected edge.
The Venice International Film Festival is a marathon of glamour, where each event offers a new opportunity for a compelling fashion moment. For the Kineo Prize red carpet, Ginevra Francesconi opted for a beautifully nuanced look that stood out by being both demure and daring. It was a study in contrasts—soft textures and strong lines, with a color palette that felt both rich and understated.
The Italian actress wore a gown in a stunning shade of warm brown that read like chocolate-mousse. The fabric was a delicate sheer organza, draped to create an off-the-shoulder neckline that revealed a structured corset bodice underneath. The corset provided a sharp, tailored contrast to the otherwise flowing and diaphanous nature of the dress. The skirt fell in soft, gathered pleats from the waist, extending to the floor and creating a sense of graceful movement.
