We’ve already seen the celebrities wearing Gucci, so here is a look at the other guests, with Valentino, Bottega Veneta and Balenciaga dominating a night where black was clearly the unofficial dress code.

Cut-Outs Doing The Work

Thank goodness for the cut-outs, because they are doing a lot of work here. Dakota Johnson’s Valentino gown features a frontless-and-backless construction that could easily have been lost in black, but the flashes of skin allow you to appreciate exactly how the dress has been engineered.

The back view also reveals that the green detail visible at the neckline is actually the lining of the hood, adding another element to an already unconventional design. Messika jewellery, including that dramatic pendant necklace, completed her look.

Texture Deserves A Close-Up

Julianne Moore wore a custom Bottega Veneta look featuring an off-the-shoulder top and organza fur-embroidered skirt.

This is precisely why the second picture is necessary. In the full-length shot, the texture of the skirt almost completely disappears against the backdrop, while the closer image reveals just how much detail is happening below the waist. I love the clean neckline against all that texture.

Colman Keeps Things Interesting

Of course Colman Domingo wasn’t going to give us a standard black suit.

His Valentino look paired a brown double-breasted jacket scattered with embroidered motifs with wide-leg black trousers and an open white shirt. The matching fringed scarf could have been one detail too many, but this is Colman; he knows how to sell an accessory.

And on a night when so many black looks were being swallowed by the backdrop, the brown jacket was an even better choice. It stands out immediately, while giving us a clear view of all that embroidery.

Boucheron jewellery completed his look.

Archival Glamour

Karlie Kloss dipped into the Bottega Veneta archives for the evening, selecting a black-and-pale-pink gown trimmed with lace.

Between the lace panels and curving colour-blocked construction, there is plenty happening here, with the pale-pink panel saving this from being just another black gown on this red carpet. It has a distinctly vintage feel, but that works for Karlie, who isn’t one for making modern fashion statements on the red carpet.

Salma Goes Sculptural

Salma Hayek wore Balenciaga, and the exaggerated volume across the neckline and shoulders ensures this gown registers even against that backdrop, as does her Boucheron jewellery, with ruby accents that work beautifully with the black.

One Of Her Best?

Simone Biles also wore Balenciaga, opting for a strapless draped gown styled with opera-length leather gloves.

I want to say that this is one of Simone Biles’ best red carpet looks, and I think I’m going to. The strapless draped Balenciaga gown is beautifully proportioned on her, while the opera-length leather gloves give the look its edge. My only thought is that bare arms might have created a little more contrast against this particular backdrop.

It was a great night for an important cause, with plenty of fashion to discuss. My only note for next year would be the backdrop. With black such a popular choice at this event, some of the finer details are inevitably harder to appreciate against the black step-and-repeat. A little more contrast would certainly help the photography – especially when Kering has assembled this much fashion in one room.

The model wore a custom Diesel gown that took one of the most basic pieces in any wardrobe – the white tank top – and stretched the idea all the way to the Venice red carpet.

Made from ribbed jersey, the fitted tank construction extended into a floor-length silhouette with draping through the skirt and an enormous train. And enormous really is the word here. At one point, it required assistance just to make its way along the red carpet.

I love the concept. Taking something as familiar as a white tank and giving it this scale feels completely in keeping with Diesel, while Natasha has the height and presence to make the Venice-worthy.

The Damiani choker was an excellent addition. Against such a simple neckline, the colour and sparkle gave the look exactly what it needed, while Diesel’s silver Oval D pumps continued the metallic accent.

Be Brave, directed by Francesco Carrozzini, is a documentary about Diesel founder Renzo Rosso, so Natasha wearing Glenn Martens’ take on a Diesel staple for the world premiere made perfect sense.

This might essentially be a white tank top with a train, but on Natasha Poly, that was more than that.

After nine days of Venice Film Festival coverage, you might think I’d be tapped out when it comes to glamour, but that can never be the case when Fan Bingbing enters the chat.

The actress operates on a different level when it comes to red carpet glamour, and she reminded us why in this Tony Ward gown.

Between the pistachio-green hue, intricately embellished corseted bodice and sculpted mermaid silhouette, this was the kind of gown made for a major festival premiere. But more than that, it feels made for Fan Bingbing. She has always had an affinity for grand gowns, and few wear this much volume with such ease.

I also love that the embellishment doesn’t stop at the bodice. Her emerald and diamond earrings and rings pick up the green beautifully, while the sleek low bun keeps the neckline completely clear and allows the jewellery its moment. The makeup was equally well judged, with softly defined eyes and a glossy terracotta lip.

After Venice, I wondered how quickly another red carpet look would give me that full-glamour rush again.

Fan Bingbing answered that question rather quickly.

With Fan Bingbing, the fairytale never ends. And I never want it to.

Stylist: Christopher Bu and Wish Gui桂菁鸿. Makeup Artist: 胡子桾.

A Change Of Pace

After a run of five colourful looks at the Venice Film Festival, Pamela Anderson switched gears in a Gucci Primavera long-sleeve jersey dress, styled with black pumps and a silver crystal-embellished clutch.

Does she look good? Yes. But I think this also confirms that bolder colours work better for her. After seeing how much those shades enlivened her Venice wardrobe, I find myself instantly missing the colour here.

A Rare Departure From Black

Camila Morrone is usually an all-black-most-of-the-time kinda girl, so this Gucci python-print tulle dress immediately caught my attention.

The neutral palette still sits comfortably within her wheelhouse, but the print and sequins give us something different without feeling like a complete departure from her usual style. I’m here for the change.

Tuxedo Time

Nacho Figueras and Homer Gere kept things classic in Gucci tuxedos, but the details separated the two looks.

I especially love the brooches on Nacho’s all-black tuxedo. With the black shirt and bow tie creating a clean backdrop, the brooches give the look the extra detail it needed.

Silver Service

Paris Hilton and Alix Earle both wore silver Gucci gowns, with Alix taking the sultrier route in her backless sequinned design.

Paris went full sparkle in a crystal-covered, high-neck gown with matching accessories, which is exactly the kind of high-glamour look I expect from her.

Alix’s open back gave her silver moment a sexier edge.

Black, Two Ways

Rita Ora and Cindy Bruna both opted for black Gucci, but that is where the similarities ended.

Rita’s glossy python-effect slip dress had a sleek simplicity, while Cindy’s halterneck dress relied on its close fit, subtle shimmer and ruching. Of the two, Cindy’s is the look I’m drawn to.

Bring Me Colour

In a dark room filled with even darker red carpet looks, Alex Consani and Bethann Hardison provided the colour injection I needed.

Alex was impossible to miss in an electric-blue feathered Gucci coat, while Bethann’s red pleated Gucci dress, cinched with a black GG belt, was equally welcome. On a night dominated by black, silver and neutrals, these two instantly stood out.

The British actress wore a black silk-crepe tunic dress from Maria Grazia Chiuri’s debut Fendi Couture collection, featuring a plunging V-neckline and floor-length leather ribbons.

No one will be surprised by this look on Jodie, because it is a reflection of her typically understated red carpet style.

There was an expectation that we would see a change in direction when she switched stylists, and for a brief period, it appeared that way. But she has switched again, and Jodie has since returned to the pared-back aesthetic she has always favoured, where simplicity takes precedence over making a major fashion statement.

Fashion-wise, TIFF has emerged as one of the standout festivals on the calendar, and this isn’t reflective of the more adventurous fashion we have seen on this red carpet in recent years. That’s not to imply that Jodie is underdressed for the occasion; this is simply her approach to red carpet dressing.

Keeping the styling simple, the look was completed with a single Elsa Peretti® Bone cuff.

Stylist: Emma Jade Morrison.

It was an evening where the jewellery naturally took centre stage, but Colman Domingo, Leslie Bibb, Lisa Rinna and Paul Anthony Kelly ensured the fashion held its own.

Back On Top

As a Boucheron brand ambassador, Colman Domingo was, of course, in attendance.

After a rare night off style-wise at the Creative Arts Emmys, he was back to his flawless best in this Valentino suit. This silhouette suits him so much better. I love a satin lapel, so the jacket was always going to win me over, and the fringed tie belt works far better for him than that contrasting sash we saw at the Emmys.

Colman loaded up on Boucheron jewels – hence why the Maison loves him so much – but it was the stack of earrings and ear climbers that got me. This is the Colman I know and love.

Silver From Head To Toe

Leslie Bibb added plenty of glamour and shine to the evening wearing a metal-lattice LEIN Vera top and Amah skirt.

With a look this embellished, the accessories needed to stay within the same story, and they did. Her Boucheron jewels were complemented by a silver Aquazzura Ari clutch and Olie sandals, completing the head-to-toe silver moment.

Lisa Dials It Down

Lisa Rinna is never afraid to make a loud – very loud – statement, especially when wearing Germanier, but on this occasion she opted for one of the label’s colour-blocked looks featuring a trompe-l’œil tie.

This will still be loud for some, but by Lisa’s standards, this is one of her subtler style statements.

He Sells It

I’ll admit, this colour combination isn’t my favourite, but Paul Anthony Kelly sells the look through the styling.

The black shirt and tonal tie give the look a more contemporary outlook that wins me over. The Boucheron brooches do fade into the tone of the suit somewhat, but that could be down to the lighting.

Alex wore Saint Laurent Fall 2026, taking the cropped cable-knit sweater from the runway and giving it a much cleaner spin with wide-leg black trousers. I’ve been enjoying the collection’s striped pieces on the red carpet, but I like that Alex didn’t recreate the runway styling. The all-black palette puts the focus on the proportions, which is what makes this work for me.

Cassie opted for a Magda Butrym wool corset dress, and this is easily my favourite part of their couple’s style moment. The precise darting and padded hips create that exaggerated hourglass silhouette the designer does so well, and you know I love a well-executed exaggerated silhouette.

The dress is so good that the shoes frustrate me even more. The bronze pointed-toe pumps with criss-cross ankle straps feel disconnected from the modernity of the silhouette. A pewter strappy sandal or mule would have been a much stronger finish and allowed the dress to have the final word.

The actress, who plays Maeve Harrigan, head of the Harrigan crime family, brought her usual dazzle and charm to the red carpet wearing the Jenny Packham Dulcet sequinned gown.

Jenny Packham, a long-time favourite of the Princess of Wales, has built her reputation on eveningwear that celebrates embellishment, so perhaps it was inevitable that the sequins wouldn’t be the end of the story. Rhinestones across the shoulders created an almost armour-like effect. It could have felt excessive, yet on Helen it only added to the sense of occasion.

A silver-metal Tyler Ellis Perry clutch and an updo, which showed off her Anabela Chan earrings, completed her look.

Stylist: Rachel Fanconi.

Serpenti in Soft Focus

Anne Hathaway wore a draped silk maxi dress that you will instantly recognise as McQueen, as we have seen this style many times before in a variety of colours, and it remains part of the label’s permanent collection.

The simplicity of the look made perfect sense when the jewellery was always going to be the focus, while continuing the elegant approach we’ve seen from Anne throughout her pregnancy. The pale hue and fluid draping provided an elegant backdrop for her Bvlgari necklace, with its coloured pendant immediately drawing the eye, as well as that stunning bright red lip.

Aquazzura So Nude sandals and Bvlgari jewellery completed her look.

Lace After Dark

Lisa delivered the most dramatic look of the night, going the vampy route in a Belik Couture dress which low-key has Dita von Teese’s name written all over it.

There is a lot going on, but that scooped neckline served its purpose by showcasing the Bvlgari High Jewelry necklace and earrings.

Christian Louboutin Miss Z Degrastrass Perla pumps completed her look.

Corset & Carats

Dua Lipa took a completely different route, and I have to say that I love the balance here. The top is heavily embellished, which only serves to highlight the spectacular Bvlgari Serpenti choker.

Usually, I am team ‘keep the canvas plain’ when the jewellery is this significant, but Dua makes a case for embellishment meeting embellishment.

Feather Forecast

Andra Day, who was the guest performer on the night, was also my favourite in this Naeem Khan Fall 2026 sequinned feathered gown. You know me and my love for Naeem Khan, so this will come as no surprise.

But this isn’t about the name alone. I was hooked by the seductive silhouette, her new blowout and those smouldering eyes, and that was before the Bvlgari Serpenti jewellery entered the conversation.

Almost Tonal

Hudson Williams wore Jacquemus, and I love The Bastide jacket. The collarless construction gives the cream tailoring a fresh feel, but I wish the trousers had been in the same tone. That slight difference is distracting. I thought I was on board with the ivory-and-white combination, but this isn’t working for me, which could be down to the difference in fabrics.

Black Jacquemus woven Derby shoes and Bvlgari jewellery completed his look.

Fringe Benefits

Joey King opted for the Mimchik Fall 2026 Nara fringe dress, but it was the accessories that caught my eye because we have a mix of metals here, with the gold Bvlgari Serpenti Cuore 1968 bag and silver Bvlgari jewellery.

The bag would have worked better for me had it been silver.

Photocall

Natsuki started the day in a Maison Margiela Co-Ed Fall 2026 look that was far removed from the simple, clean elegance we are used to seeing at Venice photocalls.

The floral-print dress was overlaid with fused and spliced tapestry panels, arranged to create the impression of a Stockman dressmaker’s dummy. With the tapestry appearing almost pinned onto the floral base and its raw edges left exposed, there was an unfinished quality that made the construction the most interesting part of the look.

It’s the kind of Margiela design that makes more sense the longer you look at it. Yes, there is a lot happening between the contrasting prints, textures and deconstructed finish but she sold it too me.

Silver asymmetric Maison Margiela Chandelier earrings and a Link bracelet, along with black leather Heel-Less pumps, completed the look.

Premiere

Then came the complete switch.

For the premiere, Natsuki wore a black Chanel lurex dress, leaving behind the raw textures and deconstruction of her photocall look for something considerably more classic.

The shimmering fabric and full A-line silhouette gave the black dress enough presence for the Venice red carpet, while the long satin ribbons falling from the shoulders added a softer finish. After such an unconventional start to the day, it felt like I got fashion whiplash seeing her move so convincingly between two completely different aesthetics.

Chanel Fine Jewelry completed her premiere look.

The 15-minute short film, starring Martha Malone, Clare Dunne and Tim Creed, is one of 13 titles competing for the Orizzonti Award for Best Short Film, making Saoirse’s return to Venice as much about her work behind the camera as it was about seeing her back on the red carpet.

It was an understated return, with the Irish actress wearing a navy-blue Louis Vuitton dress that kept the focus on its clean silhouette. The silver zip running along the side was the only real point of detail.

Considering this was her first red carpet appearance in some time, I wasn’t expecting Saoirse to make a dramatic comeback. This felt more in keeping with her style: simple, unfussy and confident enough to let the cut do the work. I also like that the zip gives the dress some edge.

Even the jewellery followed the same approach. Saoirse wore a Les Honneurs earring and Tumbler ear cuff in white gold and diamonds from Louis Vuitton’s High Jewelry collection, which added just enough sparkle without changing the mood of the look.

For a return to the red carpet, this may be low-key, but it feels right for Saoirse.

With leather, tailoring and a decidedly fall-leaning palette dominating the arrivals, the guests looked more ready for the season ahead than the collection being presented.

Olive Branch

This head-to-toe olive Ralph Lauren look is not Elizabeth Debicki’s usual style, but I’m not opposed to seeing her try something different. The relaxed trousers, shirt, tie and trench have an appealing menswear influence, although I think a different hairstyle would have sold it to me. Something slicked back would have complemented the tailoring and made the whole look feel sharper.

Sundance in September

I’m not sure how much the temperatures have cooled in New York, but Meghann Fahy’s leather Ralph Lauren coat, trousers and chunky turtleneck are giving me Sundance Film Festival in Utah vibes. I love the chocolate-brown leather, but I’m feeling warm just looking at her.

Leather Weather

Ariana DeBose was also part of the leather-coat contingent, pairing hers with a ribbed dress and brown accessories. There’s a lot of leather happening on this front row, but the softer dress keeps Ariana’s Ralph Lauren look from feeling too heavy.

Western Ways

Rachel Brosnahan took the Ralph Lauren aesthetic in a more Western direction with a brown leather-and-suede look.

Corset Comeback

Eiza González’s brown leather Ralph Lauren vest immediately reminded me of the corset-style tops we saw everywhere in the early 2000s. Layered over a high-neck blouse with grey trousers and knee-high boots, there’s a nostalgic quality to this look that feels right at home in the Ralph Lauren world. Personally, I would have striped this right back.

Chocolate Layers

Viola Davis kept things simple in a sleeveless grey knit with wide-leg brown leather culottes and knee-high boots. The proportions work beautifully on her, and I especially like the warmth of the brown leather against the charcoal knit.

Hat Trick

Cynthia Erivo is rarely without some form of headwear these days, and this Ralph Lauren beret was the perfect finishing touch to her military-inspired jacket and black trousers. The flashes of red at the collar and cuffs give the all-black look exactly what it needed.

Not Quite There

I’m usually a big fan of Ella Hunt’s style, but this Ralph Lauren look isn’t working for me, and I think it comes down to the proportions.

Brown Is Her Colour

Laetitia Casta has been very active on the red carpet recently, and her Ralph Lauren appearance continued her move beyond the all-black looks we had become accustomed to seeing. The chocolate-brown leather bustier with grey trousers is simple, but the colour alone makes this feel like another welcome change of pace.

For the occasion, she wore a Dries Van Noten white shirt dress featuring a lavallière neckline and burgundy floral embroidery.

Then we get to the styling, which is where this look really comes together. The embroidery became the starting point for every accessory choice.

Ordinarily, burgundy wouldn’t have been a natural styling choice with a white shirt dress, but in this case, it set the tone. Her Bottega Veneta belt and Loewe Joya bag picked up the deeper shade, as did the burgundy frames of her Ferragamo sunglasses.

But the Bottega Veneta Sofia pumps are easily my favourite part of the look. Combining white and burgundy, they marry the two primary colours of the dress and pull the entire look together.

This is why Queen Rania will always be my most stylish royal. Even the smallest details are worth taking note of.

As I’ve said recently, I am so ready for autumn. My nails have gone from pale pinks to deep burgundy, I’m reaching for darker lipstick again, and I’m more than ready to replace my summer wardrobe with my autumn one.

And it looks like Céline is one step ahead of me with this Saint Laurent Pre-Fall 2026 look.

There is a lot to love here, both in terms of style and colour. The mix of brown, beige, olive and mustard feels so right for Fall, and I love how Céline has embraced the full palette rather than relying on one seasonal shade.

I instantly prefer Céline’s version of this look with the longer lace skirt, as I think that works beautifully with the strong shoulders of the checked tweed jacket.

The look book mini gives the look a sexier edge, but Céline’s knee-length suede skirt feels more sophisticated and more in keeping with the way she has been dressing during this Paris run.

Bronze Saint Laurent Vendôme pumps, a brown Saint Laurent Cassandra envelope pouch and Saint Laurent SL 276 Mica sunglasses completed the look.

Another strong Paris outing from Céline, and I’m really enjoying how varied this run has been.

Stylist: Annie Horth.

Filming Italy Venice Award

Between the Prada dress and the styling, I just don’t understand the thought process here.

The black satin dress is already tricky, but the white socks/tights with pink embellished slingbacks take this in a direction I can’t get behind. The shoes on their own might have provided a fun contrast, but paired with the white socks/tights, they become the most confusing part of the look.

Una Storia Photocall

The white socks/tights made another appearance for the Una Storia photocall, this time with a Prada strapless green top, navy pleated midi skirt and black pumps.

I’m no closer to understanding them the second time around. In fact, they feel even more distracting here because the green-and-navy combination works well on Alba. Remove the socks/tights and I would have been completely on board with this.

Una Storia Screening

It took Prada’s favourite silhouette to finally unlock the code for Alba.

The red column dress is simple, but after two looks where the styling got in the way, this was a welcome change. The clean silhouette and vibrant colour were all Alba needed, with the black pumps and sunglasses completing what is easily my favourite look of the four.

Alba is usually so well dressed, so I’m surprised it took three attempts to get it right.

Un Bon Petit Soldat Premiere

I like the idea behind this Prada look, from the back-to-front-style shirt to the floor-length black skirt, which hits at exactly the right point.

But Alba is swimming in that shirt. A less baggy version would have made this a much stronger outing and potentially my favourite of the four.

As it stands, that honour goes to the red Prada dress.

Dressed in a taxi-cab-yellow Carolina Herrera Spring 2019 off-the-shoulder gown, never have I experienced such joy followed by immediate disappointment in the same intake of breath.

The gown is beautiful, and I love that Pamela has brought so much colour to a festival that tends to lean darker as we reach the tail end of summer. But the creases are impossible to ignore. Much like her Golden Globe Awards look.

The more pictures I looked at on Getty, the worse it got.

Her Naked Gun 2 press tour was flawless, with celebrity stylist Bailey Moon ensuring every element was taken care of. I don’t believe Pamela is currently working with a stylist, and sadly, it shows here.

This is where a stylist can make such a difference. It isn’t simply about selecting a beautiful gown; it’s about checking how the fabric will travel, how it will photograph after sitting in a car, whether it needs steaming before the red carpet, and ensuring every last detail is ironed out for the cameras. Pun unintended.

And it’s frustrating because everything else was working. The colour is glorious on Pamela, the off-the-shoulder neckline and billowing sleeves suit her beautifully, and the sleek updo was exactly what this gown needed.

Pandora Bespoke Lab-Grown Diamonds completed her look.

You may remember that Lady Gaga wore the red version of this Carolina Herrera gown back in 2018 for The Graham Norton Show.

The model and actress wore a Loewe dress by Jack McCollough and Lazaro Hernandez.

Last year, this would likely have been just a black Dolce & Gabbana dress, and you know what? That would have been fine. But Laetitia appears to be stepping out of her all-black-all-the-time bubble. Last week, we saw her in pink Jacquemus, and here her black strappy Loewe column dress was finished with a yellow sculptural lacquered-leather breastplate.

It’s a relatively small element in terms of the overall silhouette, but it completely changes the mood, taking a simple black column into almost futuristic territory. That flash of glossy yellow against the black is unexpected, and I’m enjoying this more adventurous side of Laetitia’s style.

I’m almost wishing the dress had been strapless, although I suspect the straps were necessary to support the weight of the breastplate.

Loewe Comic pumps and neutral makeup completed her look.

Last night, the house brought together an international group of guests in Venice for an immersive introduction to the fragrance at the Orto Giardino del Redentore, followed by a candlelit dinner inside the Chiostro della Madonna dell’Orto.

The evening also marked the unveiling of Florence as the face of the Max Mara Le Parfum campaign, which combines tuberose and vanilla with cedarwood and sandalwood, reinterpreting the house’s Italian savoir-faire through fragrance.

‘When you’re ready, you’ll know’ is the campaign message, with Florence wearing Max Mara’s new iconic ‘Ready’ coat. The house describes the fragrance as an ‘invisible coat’ and a second skin, drawing a connection between one of its most recognisable signatures and its first fragrance.

That idea carried through beautifully to Florence’s custom Max Mara look for the dinner.

The nude hue gave the silk-chiffon top, shawl and skirt an almost second-skin quality, while the lighter-than-air fabric felt like a spritz of the perfume brought to life. Gold embellishments scattered across the skirt added a subtle shimmer to the diaphanous fabric.

I also love how the shawl falls from her arms into a train. There is a sensuality here that feels natural on Florence, while the twisted crop top and bare midriff keep the look recognisably hers.

Bvlgari jewels and a timepiece completed her look.

Stylist: Rebecca Corbin-Murray. Makeup Artist: Alex Babsky. Hair Stylist: Hyungsun Ju.

We are used to seeing the actress embrace directional shapes and silhouettes, but even in soft velvet and silk satin, that same fashion energy is still apparent.

I’m particularly enamoured by the asymmetrical draped skirt. The way the silk satin gathers at the hip before falling into that long panel feels almost separate from the clean black velvet bodice – and I love that it does. The contrast between the two is what makes this gown so compelling.

The asymmetric neckline continues that play on proportion, and I love that Louis Vuitton can work with softer fabrics without losing the edge I associate with Hoyeon’s style.

Louis Vuitton black satin pumps and a mix of Louis Vuitton High Jewelry and Le Damier Fine Jewelry completed the look.

Other Louis Vuitton ambassadors tend to generate more conversation, but Hoyeon’s track record with the house deserves just as much attention. In my opinion, her Louis Vuitton outings are on par with those of Alicia Vikander and Jennifer Connelly. Some might say they’re even better.

Stylist: Andrew Mukamal.

Softly Does It

Nicola, who stars as a ballerina opposite Faye in the upcoming film, joined the legendary actress for the festival photocall.

You weren’t sold on Nicola’s Balenciaga Couture look in Venice, as many of you felt she didn’t have the presence to carry something quite so dramatic. On this occasion, she took a simpler, softer route in a Christian Dior by John Galliano Spring 2005 ivory knit and silk-chiffon dress.

This works far better for Nicola. There is still plenty of interest in the lace panels and sheer skirt, but the dress doesn’t demand more from her than she can give. The ivory chiffon and delicate lace also introduce a romantic quality that you may find more convincing than the drama she attempted in Venice.

The nude pumps prove that you don’t need PVC pumps to serve up an anonymous shoe.

The Deauville Icon

Faye Dunaway approached her Deauville appearance from an entirely different direction, pairing a red-and-white striped shirt and trousers with a white Ralph Lauren Bullion jacquard blazer.

The blazer was the right addition. Its gold embroidered crest and buttons added to the sense of occasion, while the Panama hat and red espadrilles kept things relaxed.

At 85, Faye isn’t interested in conforming to anyone’s idea of festival dressing, and I wouldn’t want her to. This is characterful and comfortable.

As I mentioned in the previous article, the actress has a long-standing affinity for Oscar de la Renta, dating back to when Fernando Garcia and Laura Kim were creative directors of the house. It seems that relationship has now extended to their label, Monse.

I wouldn’t have immediately associated Pamela with Monse’s deconstructed aesthetic, but this custom blue pear-print dress, inspired by a look from the Resort 2027 collection, feels like a natural fit for her.

There is such a freshness to this look. The pale blue, delicate pear print and lace detailing feel perfect for a daytime photocall, while the cape sleeves are what really sell this adaptation for me.

Attached with bows at the shoulders, they soften the original slip silhouette while giving Pamela the coverage she tends to favour. It’s a clever modification because you can still clearly see the Resort 2027 reference, but the final dress feels designed with Pamela in mind.

The white pumps make sense with the lightness of the dress.

We have been screaming for years for Penélope to return to the kind of form that leaves us breathless, and here it is.

Finally, a Chanel creative director has created a custom look for the Spanish actress that feels worthy of Penélope Cruz at a major film festival. Matthieu Blazy, I thank you.

The red is sensational, but this isn’t simply a case of relying on colour. The fitted bodice, fringed peplum and thigh-high split give Penélope a silhouette that feels sexy, sophisticated and unmistakably her.

You’ll also note that her co-star Patrick Schwarzenegger wore red for the premiere. Considering Patrick plays a young author who becomes friendly with Penélope’s character, Sofia, as her marriage to Javier Bardem’s Miguel comes under strain, perhaps the matching colour wasn’t entirely a coincidence.

You might feel there is something familiar about Penélope’s custom gown, and that is because it takes its colour, peplum embellished with crocheted flowers and beads, and three jewelled buttons from a suit in the Chanel Fall 2026 collection.

After so many years of wanting more from this partnership, I feel like I can confidently say that this is one of Penélope’s best custom Chanel looks, if not the best.

Red Gianvito Rossi pumps and Chanel High Jewellery, including diamond earrings from the ‘Reach For The Stars’ collection, completed her look.

Her red carpet looks have been just OK for me so far, but this archival Armani Privé Fall 2015 velvet gown is easily her best, with Celine and Chloé coming in a close second and third.

We may not have seen as many archival looks during this year’s festival, but this is another reminder of why the archives can be such a goldmine.

This is the type of gown that doesn’t need anything else. The sumptuous velvet, sculpted shoulders and crystal-embellished trim framing the plunging neckline already do more than enough. I also like the subtle modification from the runway, reducing the plunge and removing the illusion panel without changing what made the original so striking.

When I knew Maggie was going to be President of the Jury, these were the kinds of black dresses I had in mind. Hopefully, we can get some more archival Armani magic from her before the festival closes.

Bvlgari jewels completed her look.

Photocall

As you know, I have been HIGHLY critical of Patrick Schwarzenegger’s red-carpet style for the best part of a year, and for good reason. His style hasn’t been as sharp as we had come to expect, so imagine my delight when he arrived at the photocall looking this good in Tom Ford by Haider Ackermann.

Finally. FINALLY.

The chocolate-brown suit alone would have won me over, but I’m particularly enamoured with the pale-blue shirt and contrasting animal-print collar. Who knew pale blue and chocolate brown would work so well together?

The Tom Ford Addison sunglasses and black Tom Ford Dagger boots completed this major return to form.

And then came the premiere.

Premiere

I screamed.

This is the Patrick ‘Swagger’ Schwarzenegger I know and love. I have tears in my eyes. Tailoring so sharp you could cut a rib-eye steak with it.

After months of wondering where his red carpet mojo had gone, Patrick answered emphatically in this Tom Ford by Haider Ackermann suit.

The red and black colour contrasts. The fit. The blue-and-white striped shirt. The white tie. Every single element is hitting for me.

THIS is why I was so frustrated with those previous looks. We know Patrick can deliver this level of menswear, and when he does, few can touch him.

In the words of Jay-Z, “I think I got my swagger back.”

Arrival

Penélope arrived in Ferragamo, with the drapery giving the black dress enough interest and the gold hardware at the waist providing a subtle focal point. Black Ferragamo slingbacks, a Chanel bag and sunglasses completed her arrival look.

Photocall

It was back to Chanel for the Bunker photocall, where Penélope wore a black dress embellished with feathered floral details around the neckline.

I am thankful for the feathered flowers, which transform what would otherwise be a straightforward black dress, just as much as I am thankful that Penélope is no longer in her Chanel-tweed-suit-for-a-photocall phase.

Chanel sunglasses, earrings and a bag, along with Chanel Fine Jewellery, completed her look.

Susan Sarandon wore a custom-made Fendi black dress with long sleeves and an off-the-shoulder neckline.

There is a timeless simplicity to this that works beautifully for Susan. The neckline is especially flattering, while her red lip and signature sunglasses add all the personality this look needs.

The red pin is an Artists4Ceasefire pin, which Susan wore in support of the collective calling for a permanent ceasefire in Gaza. The pin was designed by Shepard Fairey and features a dove carrying a lotus flower.

Her co-star Luca Marinelli also wore Fendi, selecting a black double-breasted suit from the Resort 2027 collection.

You’ll either love or loathe the bandana. Without it, we would be looking at another all-black suit, but that small detail gives the look some personality.

Day Seven Arrivals

Florence Pugh made her return to the Venice Film Festival for the first time since promoting Don’t Worry Darling, when she served up Valentino for both her arrival and the premiere back in 2022. This time, she arrived in head-to-toe navy courtesy of Max Mara.

I love how super chic this is, and the ease of the silhouette makes it ideal arrival dressing. Max Mara sunglasses completed the monochrome moment, along with a black Chloé Paddington bag, which is still enjoying its comeback.

A gold Bvlgari watch completed her look.

Day Five Arrivals

Taylor Russell, who is attending the festival with her boyfriend, composer Daniel Blumberg, a member of the 2026 Venice jury, brought a welcome burst of colour to the Lido wearing a green Pleats Please Issey Miyake two-piece, with the label’s signature pleating front and centre.

Day Two Arrivals

Emma Corrin arrived in Venice yesterday wearing Celine, opting for an all-white look that plays with proportion through the oversized shirt and tapered trousers.

Had there been only one black accessory, I would have found the look a little disconnected, but the sleek shades, Celine Snap belt and Celine Jazz shoes distribute the black evenly throughout the look, so no single element feels out of place.

I have really been enjoying these Venice arrival looks. So chic.

Day One Arrivals

Armani Beauty ambassador Sydney Sweeney arrived in Venice, and I know the moment you saw this, you just knew it was an archival look. Mostly because her stylist Molly Dickson stays in the archives, but also because the lace, low waist and Bermuda shorts have early-2000s written all over them.

This Georges Chakra Spring 2003 Couture look centres around a sheer Chantilly lace halter top with a high frilled neckline. I love the delicacy of the lace and the way it wraps around the neck before falling across the body, leaving the sides exposed.

There is something very last-days-of-summer about the neutral palette, but the look loses me with the low-waisted sand silk taffeta Bermuda shorts, specifically that oversized belt. There is already enough detail between the lace and the volume of the shorts, and the look would have been much cleaner without it.

A sand-hued bag, tortoiseshell shades and Gianvito Rossi PVC Sofia mules completed her look.

Kendall Jenner has officially touched down in Venice, attending the festival in her role as an Armani Beauty global ambassador.

Her airport look was all about simplicity, with a cream sleeveless top and matching trousers providing the backdrop for the piece that immediately caught my attention: an oversized suede Chanel Resort 2027 weekender bag.

The size alone makes it a serious travel bag, but the suede, quilting, dark-brown leather trim and gold hardware make it far more appealing than your standard carry-on.

Kendall completed her look with The Row Stella leather slippers and Side Eye New York 223 Butler St sunglasses.

Laura Dern, who is in Venice to present George Clooney with his Golden Lion for Lifetime Achievement during tonight’s opening ceremony, arrived wearing an Alaïa white shirt dress and black wide-leg trousers, with the flash of colour coming via her green Longchamp Le Smart L tote. The look sits firmly in relaxed arrival territory.

Kate Mara arrived ahead of the premiere of Werner Herzog’s Bucking Fastard, in which she stars alongside her sister Rooney Mara, Orlando Bloom and Domhnall Gleeson.

Her Max Mara Resort 2027 mini feels exactly like the kind of look we would associate with the actress. From the silhouette and length to the graphic print, this is all familiar territory for Kate, completed with Max Mara sunglasses and a Max Mara bag. I’m also glad she ditched the oversized bow from the runway styling. The dress has enough personality without it.

Pre-Festival Arrivals

Amal Clooney was among the first to arrive alongside George Clooney, who will receive the Golden Lion for Lifetime Achievement during Wednesday’s opening ceremony.

Considering Amal and Venice have given us some memorable fashion moments over the years, I’m excited to see what she has in store for us this time around.

Amal usually gives us summer hues during a festival that sits right at the tail end of the season, but on this rare occasion she opted for a darker palette in Tom Ford by Haider Ackermann Spring 2027.

The dark moss silk-satin low scoop-neck tank and micro shorts immediately reminded me of the micro shorts Charlize Theron wore during The Odyssey press tour in Paris. The matching blazer kept the look feeling pulled together without taking away from the relaxed arrival mood.

Oversized shades and a grey suede Tom Ford clutch completed her look. Sadly, there are no pictures of her shoes, but knowing Amal’s love for Aquazzura, I wouldn’t be surprised if a pair of the label’s strappy sandals completed the look.

Maggie Gyllenhaal, who is serving as president of the Venezia 83 Competition jury, surprised me by arriving not wearing black.

While Maggie manages to make black varied and interesting, I’m hoping this festival won’t be a total blackout. And this first Celine look is giving me hope.

I am majorly obsessed with the navy jacket, which is made distinctive by that oversized belt. Paired with loose white trousers and white flats, the look feels relaxed enough for an arrival while still having enough personality to make me eager to see where she goes next.

I’m very excited to see what Madame President will bring over the next 11 days. A Celine Le 17 bag completed her look.

Claire Foy arrived ahead of Wednesday’s world premiere of Danny Boyle’s Ink, in which she stars alongside Jack O’Connell and Guy Pearce. The film will officially open the festival.

The British actress surprised us with her exploration of new labels and styles under stylist Jonathan Huguet while promoting H Is for Hawk and Savage House so I’m curious to see whether she continues in that direction or reverts to something more classic for Venice.

Her first look delivered easy elegance courtesy of Bottega Veneta. The Cherry Thong sandals and Knot Aviator sunglasses kept everything looking super chic, with the burgundy Barbara bag adding the one richer note to an otherwise neutral look.

Rather than giving you multiple posts dedicated to arrivals, I’ll be updating this one as more celebrities make their way to Venice in the coming days.

The Sash Lost Me

Colman Domingo is one of the most exciting men on the red carpet, and it’s rare that I’m not totally on board with his looks. But this custom Valentino look, designed by Creative Director Alessandro Michele, loses me with the satin waist sash wrapped over the jacket.

Michele is a maximalist, as we know, but I think the sash does nothing to enhance the look, even though it is colour-coordinated with the painterly-print shirt. The pleated trousers also appear to have created quite a bit of static, which isn’t helping to endear me to this look.

A Slightly Better Representation

Kingston Rumi Southwick’s Valentino Fall 2026 look follows a similar idea to Colman’s, but even though I’m still not sold on the gold waist sash, I think it works better here.

The jacket’s decorative frog closures already give the look a more ornate feel, so the sash feels more connected to the overall styling. I’m still not convinced I would have added it, but I understand it here more than I do on Colman.

Connor Without The Curls

What is it with my faves getting haircuts? First Erling Haaland and now Connor Storrie. The king of the curly-haired boys is no more, and the timing is particularly surprising considering his Saint Laurent campaign has just launched with those curls very much intact.

The actor wore one of Anthony Vaccarello’s Saint Laurent suits in a slightly oversized silhouette, but this feels quite muted by Connor’s standards. And I’m baffled by the trouser length.

Charles Gets It Right

Charles Melton is my favourite here in this black single-breasted velvet Louis Vuitton tuxedo.

As much as I love seeing men step outside the classic tailoring codes, sometimes you simply cannot argue with a beautifully cut tuxedo. The fit and proportions are spot-on, and the velvet jacket gives the look enough distinction without needing anything more.

Classic, But Not Perfect

Noah Wyle wore a custom Brunello Cucinelli double-breasted tuxedo, and while there is absolutely nothing wrong with it, seeing it alongside Charles makes the difference in fit immediately apparent.

It’s classic, appropriate and well put together, but it simply isn’t as sharp as Charles’ Louis Vuitton.

As President of the Jury, and knowing all we know about Maggie’s style, we weren’t expecting anything elaborate. But I have to say, I really enjoyed this Chloé Fall 2025 look.

I love the eggplant hue of the cropped blouse, with the ruffles adding just enough drama to make this feel worthy of the occasion without taking Maggie too far outside her comfort zone.

I also prefer her black trousers to the sheer taupe skirt we saw on the runway. They allow the blouse to remain the focal point and make the look feel much more like Maggie.

The matching eggplant Gianvito Rossi Sofia pumps were another welcome touch, especially when black would have been the obvious choice.

Dior Eyewear DiorGlow A1I flat-top sunglasses, a silver Bvlgari bag and a Bvlgari High Jewelry necklace completed her look.

This is easily one of my favourite looks from Maggie during her time in Venice, alongside her Celine arrival look.

Arrival

Irina arrived in Venice wearing a fitted Alaïa dress styled with a Ferragamo Cara bag and Alaïa mesh shoes, proving that even her off-duty looks come with plenty of sex appeal.

The slate-grey colour may be subdued, but there is nothing understated about the silhouette. This is classic Irina, and an easy introduction to her Venice wardrobe.

Hotel Excelsior Arrival

It may be the final days of summer, but that grey-blue Alaïa dress was the last bit of colour we would see from Irina, as it was trademark black from here on out.

The blackout started with her official arrival at the Hotel Excelsior, where she wore an archival Givenchy Fall 2015 look by Riccardo Tisci. Considering Irina is a longtime friend and muse of the designer, I’m not surprised she went into his Givenchy archive.

I’ll ignore the length of those trousers because that embroidered peplum jacket deserves all the attention. The intricate beading, exaggerated sleeves and sharply defined waist make it easy to see why this piece was worth revisiting more than a decade later.

The Echo Chamber Premiere

After receiving the Filming Italy Venice International Award, which recognises figures who have contributed to the international reach of audiovisual culture and entertainment, Irina attended Alicia Vikander’s The Echo Chamber premiere wearing another archival look, this time from the Dolce & Gabbana Spring 2003 collection.

The dress was originally worn on the runway by Gisele Bündchen and came from a collection that leaned heavily into punk and S&M references, with criss-cross lacing appearing throughout. More than two decades later, the corseted satin and exposed side lacing still read unmistakably Dolce & Gabbana.

And that is what makes this archival pull interesting to me. It doesn’t feel like Irina is trying to revive a forgotten piece; this style of dress is so closely associated with the house that it could almost have been designed for her today.

The opaque stockings, satin pumps and crystal choker push the look even further into Irina’s sultry, dark territory. For me, this is exactly the kind of archival Dolce & Gabbana look that suits Irina, because she has the attitude to sell every inch of it.

L’Estranea Premiere

This evening, Irina returned to the red carpet in another black dress from Romeo Gigli, but the mood was considerably more demure than the previous night.

At least, that is what the front would have you believe.

The asymmetric draping and long sleeves initially make this feel like a complete change of pace after the Dolce & Gabbana dress, until you see that the back is completely open. It’s a clever reveal, and far more interesting than if the entire dress had followed the same covered-up approach.

Four looks in, Irina’s Venice wardrobe has been remarkably consistent: even when she changes the silhouette or dips into the archives, there is always an element of sensuality.