Tasha Ghouri wore a sheer black gown with floral embroidery and flowing skirt at the Wicked For Good film premiere in London on November 10, 2025.

On November 10, 2025 , Tasha Ghouri attended the Wicked For Good film premiere in London, arriving in a look that fused red carpet fashion-coded delicacy with celebrity look-coded individuality .

She wore a black sheer gown with thin straps, a bodice embroidered in vibrant floral motifs, and a flowing translucent skirt revealing her legs , accessorized with understated jewelry. The ensemble projected red carpet arrivals-coded sophistication , situating her presence within a narrative of film premiere-coded poise .

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Nadiya Bychkova wore a sheer blue beaded gown with off-shoulder sleeves and silver accessories at the Wicked For Good film premiere in London on November 10, 2025.

On November 10, 2025 , Nadiya Bychkova attended the Wicked For Good film premiere in London, arriving in a look that fused red carpet fashion-coded grandeur with celebrity look-coded refinement .

She wore a floor-length sheer blue gown with intricate beadwork, off-the-shoulder sleeves, and a plunging neckline , accessorized with a silver handbag, a necklace featuring a blue pendant, and rings . The ensemble projected red carpet arrivals-coded sophistication , situating her presence within a narrative of film premiere-coded poise .

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Amanda Holden wore a pink satin gown with high slit, train, and gemstone sandals at the Wicked For Good film premiere in London on November 10, 2025.

On November 10, 2025 , Amanda Holden attended the Wicked For Good film premiere in London, arriving in a look that fused red carpet fashion-coded glamour with celebrity look-coded refinement .

She wore a light pink satin-like gown featuring a high slit and long train , accessorized with silver jewelry including necklace, earrings, bracelets, and gemstone-adorned high-heeled sandals . The ensemble projected red carpet arrivals-coded sophistication , situating her presence within a narrative of film premiere-coded poise .

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