Sophia Di Martino’s red carpet look was a study in tactile minimalism—black-on-black textures, a sculptural belt, and just enough attitude to keep it interesting.
There’s a particular kind of red carpet appearance that doesn’t rely on sparkle or volume—it leans into texture, silhouette, and presence. At the premiere of Broken English during the 82nd Venice International Film Festival, Sophia Di Martino delivered exactly that: a look that felt like a quiet rebellion against over-styling.
In a sea of gowns and glitter, Di Martino’s two-piece black ensemble stood out for its restraint—and its refusal to play by traditional red carpet rules.
The cropped top, cut with three-quarter sleeves, was rendered in a subtly textured black fabric that caught the light without shouting. Paired with high-waisted bottoms—likely a skirt or tailored trousers—the look was cinched at the waist with a belt featuring a bold circular buckle. The silhouette was clean, almost utilitarian, but the texture gave it depth. It was the kind of outfit that reads differently depending on the angle, the lighting, the mood. While the designer remains unconfirmed at press time, the aesthetic suggests a label like The Row or Stella McCartney—brands that understand how to make minimalism feel rich.
Di Martino kept accessories tight and intentional: a gold wristwatch added a hint of polish, while a pair of sunglasses (held, not worn) suggested a touch of off-duty cool. No earrings, no necklace, no clutch. Just the essentials, styled with precision.
Julia Ducournau’s opening night look was pure cinematic tension—pleated black silk, sculptural accessories, and a mood that whispered Hitchcock with a hint of punk.
There’s something about Julia Ducournau that resists easy categorization—her films, her presence, her fashion choices. At the La Grazia Opening Night Gala Premiere during the 82nd Venice International Film Festival, she arrived in a look that felt like a director’s cut of elegance: moody, minimal, and meticulously composed.
In a sea of sequins and tulle, Ducournau’s floor-length black gown offered a masterclass in restraint. It didn’t need embellishment—it had atmosphere.
The sleeveless gown was rendered in a pleated black fabric that moved like shadow—fluid, but never fussy. The texture gave the dress depth, catching the light in subtle waves as she walked. The silhouette was classic with a twist: fitted through the bodice, then falling into a soft A-line that skimmed the floor without dragging. The designer remains unconfirmed at press time, but the craftsmanship suggests a house fluent in architectural minimalism—perhaps Jil Sander or a custom piece from Haider Ackermann.
This look taps into a broader movement in red carpet fashion—one that favors texture over sparkle, silhouette over spectacle. It’s a nod to the kind of elegance that doesn’t need to shout. Is this the rise of auteur chic? Or just Ducournau showing us how to dress like a director without losing the drama?
Romana Maggiora Vergano’s red carpet look fused nude minimalism with graphic tension—like Bauhaus met ballet at the 82nd Venice Film Festival.
There’s something thrilling about a dress that doesn’t just flatter—it provokes. At the premiere of The Valley of Smiles during the 82nd Venice International Film Festival, Romana Maggiora Vergano stepped onto the red carpet in a look that felt like a visual paradox: soft yet structured, romantic yet futuristic.
In a sea of sequins and safe silhouettes, Vergano’s ensemble offered a welcome jolt. It was the kind of dress that makes you pause—not because it’s loud, but because it’s smart.
The gown featured a nude-toned skirt that flowed with understated grace, paired with a sheer bodice woven in geometric patterns of blush pink and black. The interplay of transparency and structure created a layered visual effect—almost like stained glass refracted through a fashion lens. Black strap detailing added architectural sharpness, framing the bodice with precision and edge. The silhouette was lean but not severe, allowing movement while maintaining form. While the designer remains unconfirmed at press time, the craftsmanship suggests a label fluent in modern romanticism—perhaps Iris van Herpen or a custom piece from a rising European atelier.
For more moments that redefine elegance with edge, explore our archive of red carpet looks that continue to shape the future of celebrity fashion.
