Who Wore It Worst? Venice Film Festival’s Biggest Fashion Disasters

Italian actress and model Ginevra Francesconi arrived at the Kineo Prize red carpet looking like a Roman statue brought to life—if Roman statues had transparent brown lace dresses and sky-high heels.

The ensemble hinted at ancestral glamour, though one can’t help imagining that a giant reel of pantyhose might have done just as much to turn heads—good or bad—at the Venice Film Festival.

Beyond that, the look was… well, memorable.

British actress Emilia Jones was there for the film premiere of Frankenstein, too, and managed to cross underwear that was hot during the American Civil War with lace so see-through that it does not even cast a shadow.

Then wear it to an avant-garde event in the 21st century and call it fashion—and still give you that “Hey, I am up here,” look.

Now, if you look to the right of her, in the photo, you’ll see the cameraman cradling his camera, not taking his photos. Wonder what he is thinking.

At least one netizen is wondering what Jones was thinking, as can be seen in the response to an update on Facebook, while the other (the update only had two comments) wrote “Schrechtlich. Peinlich,” which is German for “Illegal. Embarrassing.”

The message we got from the Heidi Klum and daughter duo at the La Grazia red carpet was: “This is how you do it, gal—let Momma show you.”

Both wore corseted numbers nodding to the 1850s. Heidi went for a nude-toned number with extra flourish in the fabric, while Leni—likely still new to the pomp—played it safe in black.

Way to go, Leni. May you make bolder choices at future Venice Film Festivals so we can have even more fun writing about them.

American actress Molly Sims appeared on the Frankenstein red carpet in a lacy dress that seemed to marry Chloë Sevigny’s ballerina/poison mushroom design with Romana Maggiora Vergano’s Victorian corset—both of whom were also in attendance.

The top half was conservative, stylish, and maybe even classy, with a nod to Vergano’s Victorian persuasion.

Then came the bottom half… which, like Sevigny’s, looked straight out of the mushroom family(forest fungi)—nature meets haute couture in the most confusing way.

Farhana Bodi hit the Den Sidste Viking red carpet in a dress that looked like it was pulled straight from an upholstery shop—and then sprinkled with “extra.”

The velvety sheen suited her, sure, but the massive tuft behind her right shoulder practically demanded its own Instagram account. Up front, a sharp edge towered above her head, pretending to be a rose.

Dear Farhana: does this come with an operator's manual, or are we all just supposed to guess how it works?

Shailene Woodley showed up at the Motor City premiere on August 30 in what can best be described as a disco-swimsuit-meets-evening-gown with a plunging neckline, a slit that could not decide if it was on the side or the front, and little left to the imagination’s mercy.

But instead of gasping at the outfit, the crowd fixated on Shailene herself. 

Critics tried to drag her, only to be drowned out by fans rushing to her defense with lines like, “We’re so used to actresses with their faces stretched tight by Botox that when we see someone who actually looks human, people attack her.”

In other words, her face won the red carpet, even if her dress couldn’t find its bearings.

Bangladeshi–Irish actress Maksuda Akhter clearly raided her craft box (and then some) for the Den Sidste Viking red carpet.

She appeared in a dress with a stiff, slightly uncomfortable-looking top and an asymmetric bottom sporting a front/side slit.

Fans, however, saw no issue—one even called her “irresistible,” proving that confidence can sometimes outshine even the quirkiest design choices.

Yeom Hye-Ran hit the Eojjeol Suga Eopda red carpet in a sleeveless black one-piece dress, accessorized with a dramatic bolt of turquoise lace draped over her right shoulder—because nothing says “I’m here” like wearable yardage.

She finished the look with a broad smile and a hand on her hip, clearly aware of the attention she was commanding.

Back home in South Korea, ChosunBiz called her “captivating” and said she received a barrage of flashes. Translation: She had passed the unwritten be-extra criteria of the Venice Film Festival.

Paris Jackson hit the Frankenstein premiere in what looked like leather… or pleather… or maybe a leather–spandex hybrid that is only okay to wear in Venice. 

Because it’s “art,” the neckline plunged far enough to put her tattoo collection on full display—ink she clearly considers part of the exhibit.

She paired the outfit with opera-length gloves and, in a power move, stacked her rings over them (miraculously, they fit). Toss in a diamond choker and voilà: Frankenstein’s bride, but make it fashion.

Even The Sun couldn’t resist gushing, praising the “striking Chakra tattoo” and her bling. We’ll just say the jewelry did more heavy lifting than the dress.

Suki Waterhouse hit the Broken English premiere in what looked like the world’s largest sequins.

The bottom half vaguely resembled a skirt; the top half… let’s just say the jury is still out.

She finished the look with black stockings and glossy platforms that practically demanded attention.

Netizens were dazzled: “That chainmail shimmer though,” one wrote. “Would you wear this off the red carpet?”

Cristina Parodi brought “conservative chic” to the Frankenstein premiere in a flowy one-piece with a color that could spark a heated debate: is it green or yellow? 

She followed the unwritten Venice rule that every attendee must be a little extra—her sleeves got the memo, ballooning accordingly.

A quick Google search hints that Parodi is either allergic to change or a master recycler: she rocked nearly the exact same color, texture, and style at the 79th edition of the festival. 

Italian online magazine, DiLei, weighed in on her most recent appearance, writing: “Cristina Parodi also wears lemon yellow in a soft, long-sleeved silk dress. Not much to say, except that the host looks great.”

Iron Man alum Leslie Bibb appeared on the red carpet in a simple dress that looked like it could be a distant cousin of chicken mesh.

The garment came with layers of intrigue: costume jewelry stitched along the hems and glittery particles strategically covering some of the holes.

It was not exactly loud or “extra”—you could probably get away with wearing it to a summer family barbecue instead of a film premiere.

That is… until you see the back. 

Bibb flared the lower section with her hands, giving photographers a glimpse of what the dress hides when it hangs naturally.

Love the effort, Leslie, but you’re definitely not showing up at my summer family barbecue in that one.

To say Lucia Mascino was badly dressed would be a lie—the lime color was refreshing and perfectly complemented her eyes.

Her jewelry was classy and noticeable without being gaudy.

But then there was that cape thing. What is it for? How does one wear it? Someone teach us, so that we may wear it too.

Tatiana Luter hit the Kineo Prize red carpet and pulled out all the stops. The front of her dress was short and frilly like a ballerina, while the back flowed long and dramatic, wedding-gown style.

On top, two pieces of the garment did little to cover what needed covering, all in blue lace rimmed with gold.

On her feet, gold gladiator-style sandals snaked up her calves, keeping the look fully on-theme—because nothing says red carpet drama like wearable metalwork.

Romana Maggiora Vergano graced Venice for The Holy Boy in a long, loose-fitting light brown skirt that completely hid her footwear—practical, modest, and almost forgettable on the Venice red carpet.

But, naturally, the unwritten “be-a-bit-extra” code of the film festival had to kick in somewhere.
 
And so Vergano paired the skirt with what looked like a corset straight out of Victorian times—a look that was never popular, though, because women of that era would only wear them under cover.

Instagram photographer Lucacarlino decided to document the wardrobe heresy—but in black and white, leaving the true value of that period-piece homage to his followers’ imaginations.

Nora Garrett appeared at the After The Hunt red carpet on August 29, seemingly hiding a whole wardrobe under the front frills of her dress.

The top half was sleeveless, snug, and matched her black nail polish—but then the garment flared at the waist. Something pink and frilly peeked out in front, clearly serving a practical purpose rather than just fashion.

Below that, she wore what might have been flowy pants… or a skirt. Either way, it’s safe to say the piece is a study in dressmaking… and mystery.

Mary Woodvine appeared at the Rose of Nevada red carpet in a bright orange dress and platform sandals—practical enough for everyday life, unlike much of the festival’s wardrobes.

But we have to ask, Mary: is that a tie around your neck? And even if not, would it not have paired better with a suit?

It’s fine, though. We understand. This is how you bring “extra” to the 82nd edition of the Venice Film Festival.

Also on the Den Sidste Viking red carpet was Venera Tabakin, wearing what might have been a gown—or a superhero cape—so long she had to hold it up with her hands.

Even that did not stop her from stepping on it, with photographers catching the exact moment it looked like she was tripping over her own ensemble.

Below the blue mass was a knee-high dress that shimmered like tinfoil.

Dear Venera: It’s either disco girl or Superman—you can’t be both.

Chloë Sevigny arrived at After The Hunt in a provocative black lace ensemble that somehow balanced classy minimalism with enough bedazzling jewelry and a half-smile to suggest she knew exactly what she was doing.

The look stayed elegant… right up until her waist, where it suddenly ballooned like a ballerina—or an upside-down poison mushroom.

Netizens were divided: some were left speechless (“what can I say”), while one appeared only able to muster, “The shoe is the best part of that outfit.”

Actress and model Sveva Alviti appeared at the Frankenstein premiere in a three—maybe four—piece ensemble that left plenty to the imagination.

The bra was… well, a bra. But draped over her shoulder and trailing on the floor behind her, the flowing overlay looked less red carpet and more “bedtime fantasy gone public.”

Her bottom half was covered in lace, and under it, shorts reminiscent of boxers—leaving the question of practicality firmly unanswered.

And in case you’re wondering, Alviti has not strayed far from last year’s Venice look—proof that sometimes the “if it ain’t broke” rule is just code for “redo last year’s outfit with minimal effort.”