After a year of musical chairs in the fashion industry, September is set to be one of its biggest show months ever, with 15 creative directors presenting their debut collections.
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Rather than waiting for the runway, brands like Chanel and Dior have gotten a head start over the past 10 days at the Venice Film Festival. They used the star-studded red carpets and even gondolas to softly introduce looks from their newly appointed designers.
Unlike the Oscars, which brings one night of intense red-carpet scrutiny, or Cannes, with its strict rules, Venice focuses more on notable art-house films. With less pressure, designers, stylists, and their Hollywood clients have more room to experiment and have fun. Amanda Seyfried even wore the same Versace outfit as Julia Roberts—whether a sustainability win or a marketing stunt, it made front-page news.
Jonathan Anderson, who took over at Dior in June, previewed more than a dozen looks on actors like Greta Lee and Alba Rohrwacher ahead of his womenswear debut in Paris next month. Lee wore a deconstructed minidress inspired by the brand’s signature bar jacket, while Rohrwacher chose a navy gown with a padded bustle.
Tilda Swinton offered a hint of what to expect from Matthieu Blazy, the new creative director at Chanel, stepping off a water taxi in loosely cut white trousers and a short-sleeved blouse with shimmering interlocking CC buttons.
Henrik Lischke, senior fashion features editor at Grazia, compares this preview strategy to the Barbie movie press tour in 2023. “That proved the more hype you create, the more attention you get,” he said. “These fashion brands are giving us a glimpse of what’s coming, building excitement long before a look hits the runway.”
This approach can also bring lesser-known designers into the spotlight. When Dario Vitale was announced as Donatella Versace’s successor in April, he was known mainly within the industry. But this week, thanks to the previews on Roberts and Seyfried, he became the talk of the Lido.
Pop stars like Taylor Swift are known for planting Easter eggs—hidden clues about future projects for fans to uncover. Paparazzi shots from film sets serve as unofficial teasers. Now, fashion designers are embracing the art of the sneak peek too.
Timothée Chalamet pioneered this soft-launch approach, wearing Haider Ackermann’s first design for Tom Ford to the Golden Globes two months before the debut show. He also wore Sarah Burton’s first menswear look for Givenchy—a butter-yellow suit—to the Oscars just days before her Paris show. Vicky Krieps and Julianne Moore have also previewed Louise Trotter’s work for Bottega Veneta.
But just as on-set images have been accused of spoiling movie magic, could these early fashion teasers backfire? Some online critics have called Versace boring, while others say Jonathan Anderson’s intentionally chaotic pieces for Dior don’t exactly scream Hollywood glamour.
Fashion commentator and author Amy Odell notes that while designers are aware of early criticism, “not every look is for everybody.” As for giving away too much, she isn’t concerned: “I don’t think one or two looks at a film festival reveal much—it’s more like a nice teaser, an amuse-bouche rather than a big spoiler.”
Best looks: When Hollywood stylist Elizabeth Saltzman posted a photo of Julia Roberts in stripes…On her Instagram, Amanda Seyfried admired a Versace outfit—a d-shirt, straight jeans, and blazer—worn by Julia Roberts, writing, “Please let me wear the same outfit.” Two days later, stylist Karla Saltzman made it happen, thanking Roberts for her “generosity and sustainability. Sharing is caring!” She posted a photo of Seyfried in the identical look, though with different shoes: Roberts wore black pumps, while Seyfried opted for strappy sandals.
The internet quickly joined the conversation, comparing side-by-side photos and debating who wore it best. Some even called it the most memorable look of the festival. While it reinforced the blazer-jeans-top (BJT) combo as a modern take on power dressing—evident in front-row styles and the “girl boss” aesthetic—it wasn’t the festival’s standout red carpet moment. Here are three other looks I would have borrowed instead.
Ayo Edebiri in Chanel
For her Venice debut, Ayo Edebiri skipped the classic gown and chose a white two-piece from Chanel. The outfit nods to the direction creative director Matthieu Blazy aims to take the brand—known for his trompe l’œil designs at Bottega Veneta, like leather-made flannel shirts and jeans. Edebiri’s ensemble echoes Chanel’s spring 1999 collection, with its asymmetrical jackets and cuffed trousers. It feels more wearable than a tulle gown, though an all-white look still seems risky for anyone outside Hollywood who might worry about spills.
Jacob Elordi in Bottega Veneta
Jacob Elordi’s all-white Bottega Veneta outfit may not be groundbreaking, but for a man on the red carpet, avoiding a suit is noteworthy. It also signals a move away from “method dressing,” where actors feel pressured to channel their characters through their outfits. That said, given Elordi’s upcoming role in Emerald Fennell’s adaptation of Wuthering Heights, those sideburns and billowing shirt might actually be a subtle Heathcliff homage.
Greta Lee in Dior
Greta Lee, star of Late Fame, wore a refreshingly simple Dior look on the red carpet, paired with overly serious stilettos. Lee frequently collaborated with designer Jonathan Anderson during his time at Loewe, appearing in campaigns and front rows. Now that Anderson has moved to Dior, Lee seems to be following suit. This outfit reflects his interpretation of Dior’s iconic 1947 “New Look” silhouette. For those tired of attention-grabbing fashion, it’s a welcome change. I would have preferred more playful shoes—Anderson, after all, created Loewe’s broken egg heels and viral pigeon bag—but perhaps the witty accessories will debut at his official Paris Fashion Week showcase next month.
Frequently Asked Questions
Of course Here is a list of helpful FAQs about Chanel and Dior unveiling new designs at the Venice Film Festival
Beginner General Questions
Q What is this about I thought fashion was shown at Fashion Week
A Traditionally yes But top luxury brands like Chanel and Dior are now also using major film festivals like Venice to quietly debut new collections to a global audience of celebrities and press
Q Why are they doing this at a film festival and not a runway show
A Film festivals offer a unique blend of highprofile glamour celebrity clients and global media attention Its a powerful way to connect fashion with cinema and culture reaching a different audience
Q Is this replacing Fashion Week
A No its not a replacement Think of it as an additional more exclusive strategy Brands still rely on the traditional Fashion Week calendar for their main seasonal reveals but use events like Venice for special targeted launches
Q How can I see these new designs
A Unlike a scheduled runway show these unveilings are often more subtle Youll see them on celebrities walking the red carpet in behindthescenes social media posts from influencers and editors and in press coverage of the festival
Advanced IndustryFocused Questions
Q Whats the strategic benefit for a brand like Chanel or Dior
A The benefits are multifaceted it creates exclusive seenowbuynow buzz around specific pieces associates the brand with artistic prestige and generates immense media value from celebrity endorsements on the red carpet
Q Arent these just glorified celebrity dressings How is it a design unveiling
A While celebrity dressing is a part of it its often more curated A brand might create a small exclusive capsule collection or prerelease pieces from an upcoming main collection specifically for the festival treating the red carpet as a live global runway
Q What is a common challenge or criticism of this approach
A A key challenge is the lack of control On a traditional runway every look is presented exactly as the creative director intended On a red carpet the context is different and the focus can shift to the celebrity rather than the garments details
