The fashion hits and misses of an infant film festival
The Red Sea International Film Festival (RSIFF) opened its fourth edition in the historic Al-Balad district of Jeddah. The UNESCO World Heritage site, now transformed into the festival’s Cultural Square venue, provided a fitting backdrop for a celebration of global cinema – and, of course, fashion. This year’s theme, The New Home of Film, reflected not just in the 120 films being screened but also in the ambitious, if uneven, style statements on the red carpet (which funnily enough featured no noteworthy red looks).
Executing the vision
The first look that genuinely caught the eye – the kind that you scroll past in a hurry but then freeze and frantically scroll back to – was Egyptian actor Mona Zaki’s. She was a vision of contemporary fashion in her Oscar de la Renta gown paired with Pasquale Bruni jewels. Styled by Cedric Haddad, the strapless silver number hugged her frame before flaring out into a dramatic mermaid-style silhouette. But what truly gave it the stop-and-stare factor were the peach feathers cascading from the hem – a soft, romantic detail that added dimension to the metallic fabric. We’re all well aware that this specific colour palette works – lest we be reminded once again by throwback fashion blogs of Poo’s iconic peach and silver lehenga in Bole Chudiyan.
Speaking of Poo, let’s move on to what might just be one of the best red carpet moments of the night if not of all time: Kareena Kapoor Khan in a purple velvet Oscar de la Renta gown. Styled by Rhea and Sanya Kapoor, this look was a lesson in drama – the kind that if you ignore, gets your knuckles rapped. The gown’s figure-hugging silhouette was consistent till the hem, adorned with 3D orchid appliqués that lent an artistic touch. And then there was the veil: an audacious choice of a purple fascinator with a delicate net cascading over her eyes, adding an element of mystery.
Yes, comparisons to Kerry Washington’s 2024 Met Gala look are inevitable especially since they were both designed by the same house, but Kareena’s take felt distinctly her own. The veil – divisive as it might be – was the kind of bold, theatrical touch that reminded us why she’s a Bollywood icon. Carpets are about making statements, and this look spoke volumes.
If Kareena brought drama, Nour AlGhandour delivered romance. Her Geyanna Youness gown was an absolute head-turner. The black strapless bodice, though simple, served as the perfect canvas for the explosion of sculptural cream roses cascading from her hips to the hem. Paired with black opera gloves, the gown exuded vintage taste with some modern inspiration. It was the kind of look that makes heartbeats slowly escalate until you’re forced to look away.
Sara Sampaio’s Zuhair Murad gown was a love letter to the gothic architecture that ran rampant in Eastern Europe in the Late Middle Ages. Black and silver crystal beadwork, paired with cascading tassels, gave the look a chandelier-like brilliance. It was dramatic and daring despite its simplicity.
Catherine Zeta-Jones walked the carpet hand in hand with husband Michael Douglas. While his outfit was not noteworthy – hers definitely was. She opted for a custom Marmar Halim gown. Made of draped blue silk, the dress featured a pleated capelet and a sweetheart neckline. It was an ensemble that spoke to her enduring star power – understated yet unforgettable.
Almost, but not quite
Where this particular red carpet failed to keep up with its more seasoned counterparts was consistency. Of course, all red carpets have well-dressed and not-so-well-dressed stars walking them, but a lot of this one teetered on a neither-here-nor-there sort of edge.
Michelle Yeoh brought her signature dramatics to the red carpet in a black Balenciaga Spring 2025 collection gown with sharply defined cuts. The look was vaguely witchy without veering into cosplay, but sadly plain black on the red carpet is starting to feel repetitive. She looked great but imagine this gown in a bold emerald or crimson – it would have been a revelation. The unconventional earrings added intrigue, and the bare neck made sense as not to overpower the dramatically cut neckline. All of this being said, her presentation elevated the dress far beyond the runway version. There it resembled a trash bag with a luxury brand label slapped on and held together by safety pins.
Eva Longoria’s gold lamé gown by Marmar Halim required a second (and third) glance to fully appreciate. The off-shoulder design and shimmering fabric created an ethereal effect in motion, but it lacked the immediate wow factor one hopes for in an opening ceremony look. This was a gown that whispered “wow” rather than shouting it – a risky move on a night like this.
Cynthia Erivo never shies away from bold fashion, and her vibrant Carolina Herrera gown was no exception. Bold yes, but it may be that fashion lovers are beyond tired of seeing her in greens paying tribute to her Wicked character. If you were never one to think someone could go too far with method dressing, Cynthia will prove you wrong. Even though the cut was striking, something was off. After some thorough analysis, you may realise the problem is right in front of you. Green is not her colour. Which is ironic to alarming extents since Elphaba is entirely green in the film. But against her own skin tone – this particular shade of grass green did dear Cynthia dirty.
Where it fell flat
Georgina Rodríguez is no stranger to high fashion, but her embellished green Alaïa dress felt underwhelming for an event of this magnitude. The sheer fabric, while trendy, lacked the sophistication expected on such a red carpet. And those beige shoes? A styling choice that clashed with the rich green tones of the gown. With her access to couture, this felt like a missed opportunity.
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