There are red carpets, and then there is Venice.
For eleven days each September, the Lido becomes one of cinema’s most closely watched stages, where premieres unfold against the Venetian waterfront and fashion becomes inseparable from the spectacle. The 83rd Venice International Film Festival was no exception. Between the arrival boats, flashes of photographers and the unmistakable red carpet of La Biennale di Venezia, every appearance carried its own sense of occasion.
This year, Kristie Romanos became part of that picture.
Two women stepped onto the Venice red carpet in Kristie Romanos, each choosing a gown from a different chapter of the house. Izabela Zofia Switon-Kulinska appeared in gold from the 2025 Evening Collection, while Natacha Eguía offered a first glimpse of a creation from the upcoming 2027 Evening Collection.
Two dresses. Two entirely different energies. And one red carpet that allowed each to come fully into its own.
Izabela Zofia Switon-Kulinska in Kristie Romanos: Gold in Motion
Gold belongs naturally to Venice. Against the warm façades, evening light and flashes of the red carpet, it takes on a richness that few other colours can match.
For her appearance at the 83rd Venice International Film Festival, Izabela Zofia Switon-Kulinska wore Alba, a gold evening gown from the atelier’s 2025 Evening Collection.
But Alba does not rely on gold alone to make its entrance.
The silhouette draws the eye immediately to the waist, where the fabric is hand-draped into a sculpted bow. It is dramatic without becoming decorative for decoration’s sake. Instead, the bow becomes part of the architecture of the gown, gathering the fabric, defining the body and creating a focal point that changes as the dress is seen from different angles.
A deep V neckline brings clarity to the upper silhouette, while the skirt falls into a long train that gives the gown its sense of movement. On the Venice carpet, that balance became particularly visible: structure through the waist, softness through the draping, and gold catching the light differently with every step.
There is something almost cinematic about Alba. It does not reveal itself in one photograph. From the front, the sculpted waist commands attention. In profile, the draping becomes more apparent. In movement, the train completes the picture.
On Izabela, the gown felt assured rather than overly styled. The gold was allowed to be gold. The volume was allowed to move. And the bow, unapologetically oversized and sculptural, gave the look the kind of identity a Venice red carpet demands.
A design from the 2025 Evening Collection, returning to an international red carpet in 2026, also says something important about the house’s approach to eveningwear: a memorable gown does not belong to a single season. When the silhouette has presence, it continues to find its moment.
Natacha Eguía in an Exclusive First Look at Kristie Romanos 2027
If Izabela’s appearance revisited an existing collection from the house, Natacha Eguía’s Venice moment looked ahead.
For the red carpet, Natacha wore an unreleased black gown from the upcoming Kristie Romanos 2027 Evening Collection, marking one of the first times a creation from the collection has been seen ahead of its official reveal.
And with it came an entirely different energy.
Black replaced gold. Transparency met density. Rather than relying on one defining detail, the gown builds its presence through contrast: a sheer bodice tracing the body, asymmetric draping crossing the silhouette and fine black strands extending from the sleeves before falling into cascading layers around the skirt.
It is a dress that asks to be seen in movement.
As Natacha crossed the Venice red carpet, those elements became part of the moment. The strands moved freely around the body, the draped layers shifted from one frame to the next, and the black silhouette seemed to redraw itself with every step. At one angle, it appeared sharp and graphic; at another, fluid and almost weightless.
There is restraint in the palette, but not in the attitude.
The all-black composition allows the construction of the gown to speak louder. Sheer sections reveal and conceal in equal measure, while the asymmetric lines interrupt expectations of a traditional red-carpet silhouette. Nothing feels entirely fixed, giving the dress a sense of spontaneity despite the precision behind its form.
On Natacha, that contrast felt particularly powerful. The gown did not simply follow her onto the carpet; it responded to her. Every turn created another shape, every step another composition.
And that is perhaps what made Venice the right place for its first appearance.
Before the upcoming 2027 Evening Collection is revealed in full, this single look offers just enough of a preview: a darker mood, a strong point of view and an approach to eveningwear that continues to explore how a dress can transform once it meets the woman wearing it. For now, the rest remains unseen.
Two Moments, One Kristie Romanos Woman
Seen together, the two Venice appearances could hardly have been more different.
Izabela in sculpted gold. Natacha in layered black. One gown centered around a singular, dramatic bow; the other shaped by transparency, asymmetry and movement. One drawn from the house’s 2025 collection, the other offering the first glimpse of what is coming in 2027.
Yet both share the same instinct: eveningwear should do more than occupy a red carpet. It should become part of the woman’s presence on it.
At the 83rd Venice International Film Festival, Kristie Romanos did not arrive through one defining silhouette. It arrived through contrast.
Gold and black. Structure and fluidity. An established Kristie Romanos design alongside a first look at what comes next.
And with the 2027 Evening Collection still waiting to be revealed, Venice offered only the beginning.
Discover Kristie Romanos eveningwear and stay tuned for the unveiling of the 2027 Evening Collection.