SEOUL – Rosé, a member of the South Korean group Blackpink and global ambassador for Saint Laurent, attended the VIP screening of the feature film “Hope” on Monday, July 13, 2026.
The appearance serves as a strategic alignment between the luxury fashion house and the high-visibility promotion of South Korean cinema. By integrating high-end accessories with a pared-back aesthetic at a major industry event, the brand leverages the ambassador’s cross-market influence to bridge the gap between formal luxury and contemporary lifestyle wear. The screening, held ahead of the film’s general release, also underscores how celebrity-driven fashion placements now routinely sit alongside national content exports within South Korea’s broader cultural and creative industries strategy.
Saint Laurent Product Integration
For the event, Rosé wore the luxury house’s Ivresse sandals in the Lemon Green & Peridot colorway, which carry a retail price of $1,900. The footwear is constructed from satin crepe and features an almond-shaped toe, a diamond-quilted insole, and a narrow taupe strap across the toes, complemented by wider straps wrapping around the ankle and heel.
The design includes a transparent Plexiglas stiletto embedded with yellow-green rhinestones and a gold-toned spike engraved with the Saint Laurent name. The statement heel functions as a focal branding device in photocall images and social media circulation, reinforcing the luxury label’s visibility in a market where fashion tie-ins increasingly influence consumer behavior and cross-border merchandising decisions.
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WireImage
The sandals were paired with medium-wash flared jeans, a cropped black racerback-style tank, and a white Saint Laurent Niki small shopping bag featuring gold chain straps. The off-duty silhouette, styled around a hero accessory, reflects a wider luxury strategy in which marquee items are positioned as everyday wardrobe pieces rather than reserved solely for red-carpet use.
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Saint Laurent
Ambassadorial Styling Evolution
The use of decorative heels in a casual context marks a shift in Rosé’s recent public appearances for the brand. Previously, the ambassador had reserved Saint Laurent’s high-ornament footwear for strictly formal engagements, in line with the more traditional separation between red-carpet dressing and daywear in luxury house playbooks.
In March 2026, at the Brit Awards, she wore white P.A.R.I.S. slingbacks paired with sheer tights and a one-shoulder satin gown. In May 2026, at the Met Gala, she wore crystal-trimmed Liza sandals with a strapless black dress and a jeweled bird brooch.
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By stepping out in crystal-embellished heels alongside denim and a tank top for a domestic film event, Rosé extends that visual language into a more accessible register. For global luxury groups, such ambassadorial pivots can influence internal marketing allocations and local licensing discussions, particularly in markets where fashion and entertainment sectors receive targeted public and private investment under broader cultural-industry development plans.
Production and Release of “Hope”
The VIP screening precedes the South Korean theatrical release of “Hope,” directed by Na Hong-jin. This marks the director’s first feature film since 2016’s “The Wailing.”
The film features Hwang Jung-min and Hoyeon, known for “Squid Game,” in the roles of a police chief and a rookie officer. The plot centers on a mysterious creature that brings chaos to a remote village. “Hope” previously premiered in competition at the Cannes Film Festival in May 2026, positioning the title within the global festival circuit before its home-market debut.
In South Korea, commercial releases such as “Hope” are distributed under a regulatory environment overseen by the Korean Film Council and within the broader legal framework of the Framework Act on the Promotion of the Cultural Industry, which guides state policy support for film and related creative sectors. Against that backdrop, high-profile VIP screenings that draw K-pop talent and luxury brands serve not only as marketing moments but also as visible nodes in the country’s cultural-export strategy.
The film is scheduled to open in South Korean theaters on July 15, 2026, before continuing its international rollout to markets where local censorship and classification decisions will shape its final exhibition footprint.
