The 79th International Venice Film Festival kicked off on August 31, and it has yet to disappoint. The stars are out in force this year, with all the requisite drama, intrigue and unadulterated sexiness you’d expect carted into the Ventian harbor on those adorable little speedboats: Spit takes, skimpy arms and a cinematic barrage of soon-to-be Oscar-nominated films have dominated the attention of not only Venezia but of a ravenous internet audience as well. All in all, it’s been a far cry from the festival’s typical second-fiddle status to Cannes.
And of course, with an influx of star power and drooling press, there’s bound to be some looks. The Italian red carpet has been privy to a wild array of menswear thus far, with the likes of Chris Pine and Timothee Chalamet all gussied up for our viewing pleasure in Ralph Lauren, Gucci, Haider Ackermann and more. From stellar suiting to gender-bending jumpsuits, there’s been…a lot. Tons of bow ties, an emphasis on grooming and the return of the classic black tux all featured heavily. And we haven’t even begun to discuss Noah Baumbach.
To keep you in the loop, we’ve compiled the looks you just need to know, and graded them on the most fundamental scale we know: the good, the great and the downright ugly. Below, browse the twelve biggest menswear moments from the Venice Film Festival.
Chris Pine is the undisputed winner of the 79th Venice Film Festival’s prestigious “most stylish attendee” award — in our books, at least. The Don’t Worry, Darling actor’s cult-level charisma was on full display with a variety of crisp, put-together menswear moments, from a nautical ensemble straight out of 1960’s Nantucket to a perfectly tailored, chocolate brown tux courtesy of Ralph Lauren. Brad Pitt-level locks just serve to sweeten the deal. Never change, Chris.
Adam Driver’s dapper tux isn’t revolutionary or especially crazy, but that doesn’t stop us from feeling that it’s just the right kind of sharp for the White Noise actor. Toss in Driver’s signature soft smile, and we’re perfectly content to gaze on in admiration.
Oh, Timmy. Timmy, Timmy, Timmy. What are we going to do with you? Pushing the envelope is part of the heartthrob’s style game — the 2022 Oscars provide a perfect example — but the 26-year-old star fell flat with his custom Haider Ackermann outfit at the Bones and All premiere. The fault lies not with it’s a unique, traditionally feminine cut (if anything, we’re intrigued), bur rather the fit here; but the excessively slim shape and (rather unflattering) back cutout does little for an already svelte Chalamet. We’re all for pushing boundaries…but you should probably try to look hot doing it.
Verdict: Good (Kinda)
Hazza has had a real go of it in Venice. Drama surrounding Don’t Worry Darling aside, His custom Gucci looks were a mixed bag — while there were certainly good bits (snakeskin boots, exaggerated blazers), there were some poor choices as well (see: both looks read discount Scooby Doo character).
To be clear, we’d be ecstatic about Brendan Fraiser’s Hollywood return even if the man showed up in a garbage bag. But Fraiser gets everything right here — a dapper, well-fitting suit (an especially tough feat for a larger man like himself), knit tie and winning disposition. That’s the Fraiser we remember!
Collin Farrell knows a thing or two about the red carpet…namely, his angles. His tux is fine and good — much like Driver before him, the actor has opted for a parred back, timeless style — and combined with his side-swept hair and earingged-up mug, Farell proves he still more than deserves the title of leading man.
It makes perfect sense that rising star Chase Stokes subscribes to the large pants ideology that’s swept the sartorial landscape, just as it checks out that the strapping actor would have zero qualms about the no-shirt, tailored suit look. But both looks, from Georgio Armani no less, fail in their own ways. There’s always next year.
Luca Guadagnino may be known for his directorial prowess, but he’s something of a ‘fit savant, too. Iced out in Loewe for the entirety of his Venice stay, the Bones and All director’s entrance was particularly drippy, sporting a bespoke Bernardo Bertolucci screen print shirt and equally suave Loewe sunglasses.
It’s a good thing that Nick Kroll is used to being the center of attention; with a double-breasted, peak lapel, royal blue Dolce&Gobanna suit jacket like his, you’d have to be.
Christoph Waltz’s unmatched talent extended to his wardrobe in Venice; tasked with announcing duties, his subtly embossed tuxedo and professorial eyewear exuded timelessness and class rarely seen. For our money, his classic look is one of the winners of the festival.
An all-white tuxedo is a tough look to pull off, and even his very excellent watch — a gorgeous, rose gold Jaeger-LeCoultre Reverso Classic — doesn’t save this one for Nicholas Hoult. Maybe the Labor Day rule is right after all?
Verdict: We don’t even know
We barely know where to begin here. On paper, this suit is…fine? Perhaps a bit schlubby, if we’re being honest. It fits okay, not great. It may or may not have a stain (above the left pocket). Its almost-beige color feels an odd choice for a prestigious film premiere. And yet. We kind of, possibly, just maybe, really like it. The (shockingly on-trend) Gucci x Adidas Gazelle collab that Baumbach is sporting add a touch of Wes Anderson-esque fun to the otherwise bland suit, and the oddities of the outfit feel almost calculated against the director’s stoic disposition. We’d like to think that this is a 4D chess type of dressing we’ve yet to unlock. But maybe it’s just an okay suit.
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