Fashion Takes Center Stage Beyond the Red Carpet
Assuming that the Venice Film Festival—and cinema at large—bears no connection to fashion is a mistake. From early 20th-century star culture to today’s intertwined relationship between fashion and film, style isn't just what actors wear on set: it's a moment-in-time statement crafted by stylists on red carpets and in street shots.
The Venice Festival as the Creative Directors’ Premiere
The Venice Festival 2025 has become the de-facto premiere for fashion creativity, showcasing “firsts” from several new creative directors. Dior Haute Couture by Jonathan Anderson was unveiled on Alba Rohrwacher (alongside Monica Barbaro, Greta Lee, and Mia Goth); Versace by Dario Vitale appeared on Julia Roberts and Amanda Seyfried; and Chanel HC by Matthieu Blazy on Tilda Swinton (and Ayo Edebiri). Bottega Veneta added to the buzz by previewing Louise Trotter’s forthcoming designs via celebrity appearances. The result? Fashion no longer waits for Fashion Week—it embraces cinema's magic for its grand reveals.
First Impressions That Last
The concept of “divismo”—the near-worship of theatrical and cinematic icons—has always given fashion power, but today that dynamic is evolving. Dressing celebrities draws attention, but the focus now shifts: these red-carpet moments are about the debuting vision of new creative directors.
Dior’s Haute Couture Reimagined
Jonathan Anderson’s debut was on Alba Rohrwacher at the premiere of Jay Kelly, featuring a draped, pleated blue crepe gown—evoking aristocratic 18th-century elegance—paired with Mia Goth’s gothic-Victorian yet sensuous styling. Greta Lee wore a modernized mini-skirt suit (sans jacket), and Monica Barbaro chose a coquette-style outfit with pleats and a dramatic bow—demonstrating Dior’s multidimensional femininity.
Versace by Vitale: Style Worn by Two Icons
Dario Vitale’s debut at Versace arrived early—before Milan Fashion Week—when Julia Roberts appeared in a business-casual look: a tailored blue wool blazer, striped shirt, jeans, and accessories that echoed the Medusa-headed brand. Amanda Seyfried wore the same outfit shortly after, igniting social media buzz; Amanda herself tagged Julia on Instagram saying, “Thanks for sharing the look!”
Chanel Enters a New Era of Chic
Matthieu Blazy’s Chanel debuted with ethereal minimalism: Tilda Swinton wore a white crepe silk blouse with ruched cuffs and bow, paired with a black mikado skirt—timeless Chanel elegance reinvented. Ayo Edebiri wore a ruffled ruby-red dress, showing that color also has a place in Blazy’s Chanel palette. The full impact awaits its runway debut.
Menswear Debut: Bottega Veneta by Louise Trotter
At Cannes, Louise Trotter’s debut included Julianne Moore in a one-shoulder black dress styled like a Greek goddess. In Venice, Jacob Elordi showcased Trotter’s menswear vision—double-breasted tuxedos and all-white vintage-tinged ensembles, unbuttoned shirts, layered gold chains (including Cartier’s Juste un Clou), and classic headbands. It was a wearable fantasy that bridges haute and street.
A New, Democratic Approach to Fashion Launches
These red-carpet debuts by creative directors narrow the gap between high fashion and everyday life. Fashion Week’s exclusivity makes it distant for many—but celebrities showcasing couture makes it accessible. People will remember “who wore what,” linking brands to beloved actors—and taking fashion beyond glossy runways into mainstream relevance.
Fashion Rewrites the Rules—and Faster
Creative director premieres now ignite public conversation as much as film screenings. Brands like Dior, Versace, and Chanel no longer wait—but define their own pace, tone, and rhythm. The traditional twice-a-year fashion cycle seems out of sync with the digital era. It’s time to embrace that everything must truly change to stay current. And perhaps the real question now: where is the greater impact—a festival red carpet or a fashion-week runway?
