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.
Chloe Sevigny—never one to play it safe—brought Victorian mischief and modern edge to Venice in a lace-heavy look that felt part Wednesday Addams, part Comme des Garçons.
There’s a certain thrill when Chloe Sevigny hits a red carpet: you brace for something cerebral, something off-kilter, something that refuses to be just “pretty.” At the 82nd Venice International Film Festival on August 29, 2025, Sevigny arrived at the “After The Hunt” premiere in a look that felt like a fashion thesis—equal parts gothic schoolgirl and couture rebel.
Her black lace dress was a textural playground. The bodice, sheer and structured, gave way to a voluminous ruffled skirt that billowed with theatrical intent. A crisp white collar and matching cuffs punctuated the darkness, like punctuation marks in a moody novella. The silhouette was exaggerated but wearable—think Victorian doll meets punk librarian. While the designer remains unconfirmed at press time, the aesthetic leaned unmistakably toward Simone Rocha’s romantic grotesque or early McQueen’s twisted femininity.
Sevigny paired the look with black high-heeled sandals—delicate straps, no embellishment, just clean lines to offset the drama above. Jewelry was minimal, if present at all. The restraint in accessories allowed the dress’s layered textures to take center stage, a smart move in a sea of over-accessorized ensembles.
In a year where celebrity style has leaned heavily into Y2K nostalgia and hyper-femme maximalism, Sevigny’s look felt like a quiet rebellion. It nodded to historical costume, yes, but filtered through a lens of downtown cool. It was fashion that asked questions—about identity, about femininity, about the role of discomfort in beauty.
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.
