On the historical Paramount lot Vogue World: Hollywood celebrated the ongoing dialogue between two dream factories: fashion and cinema. The event was organised into seven chapters representing different genres of film (Afrofuturism, historical, sci-fi) and aesthetics (Gothic, Western, etc.). To each chapter a world-acclaimed and award-winning costume designer was assigned and their work for film was displayed alongside pieces inspired by those costumes and made in collaboration with one of seven major fashion houses.
Costumes, couture, custom looks, archival, and current runway clothing was worn by models and stars. Mingling among them were some familiar iconic movie characters—from Charlie Chaplin’s Little Tramp to Audrey Hepburn as Holly Golightly in Breakfast at Tiffany’s.
One hundred percent of ticket proceeds—as well as Vogue’s proceeds from an exclusive eight-piece Vogue World: Hollywood capsule designed by Fear of God’s Jerry Lorenzo—will go to the Entertainment Community Fund, a charity that supports actors, workers, and other creatives in the film industry. There will be a special focus on helping costume professionals—especially those impacted by the LA wildfires. Paramount Pictures has also pledged a donation to the E.C.F.
A surprise musical number opening by Nicole Kidman as Gilda singing ‘Put the Blame on Mame’ turned magical when the actress emerged onto the Paramount studios, walking down the street wearing custom Chanel and Chanel Fine Jewelry. Baz Luhrmann appeared, directing Kidman and then, the crowd gathered at large, asking for more energy from those on the front row; including a cheeky “will the featured actor playing Anna Wintour please give me more?” Then, he yelled “Action KJ!,” at which moment Kendall Jenner walked on the runway wearing an original costume from Moulin Rouge! Designed by Catherine Martin, and opulent earrings from Tiffany & Co to the sound of Chris Isaak’s “Baby Did a Bad Bad Thing.” This is why we come to Vogue World: Hollywood!
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Act 1: Hollywood Glamour
Catherine Martin, Costume Designer,
Miuccia Prada, Prada, Creative Director
The period fondly known as the Golden Age of Hollywood was one of transformation, innovation, and discovery; stretching from the late 1920s—the dawn of the “talkie”—through the 1960s, when silvery black and white gave way to full-tilt colour. Original costumes from Baz Luhrmann’s Moulin Rouge! and The Great Gatsby capture the era’s raucous, romantic spirit, while looks inspired by flappers, showgirls, and songbirds round out the scene.
Mona Tougaard as a broody Daisy Buchanan, in custom Miu Miu inspired by the costumes Catherine Martin made in collaboration with Miuccia Prada for The Great Gatsby.
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'The Great Gatsby', 2023 Carey Mulligan as Daisy Buchanan in a costume designed by Catherine Martin in collaboration with Prada, with Leonardo DiCaprio as Jay Gatsby
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Vogue World: Hollywood
“Baz wanted the Gatsby costumes to be rooted in the silhouettes, fabrics, and details of the 1920s, but infused with an energy that would resonate with modern viewers,” Catherine Martin recently told Vogue. “This led me to favour the idealised forms over strict historical accuracy.”
Speaking of Gatsby in 2012 Miuccia Prada told the magazine: “I usually try not to literally reference periods in my work, because that’s not the way I think. But when I worked on the costumes, I realised how I many pieces could become very 1920s with a little intervention and another point of view.”
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From the Runway to Vogue World: Hollywood
Nicole Kidman as Satin in Moulin Rouge!, 2001. Costumed by Catherine Martin.
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Kendall Jenner in an original 'Moulin Rouge' costume
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Lulu Tenney in a Great Gatsby costume by Catherine Martin/Miu Miu
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Xiao Wen in a Great Gatsby costume by Catherine Martin/Prada
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Jeanne Cadieu in a Great Gatsby costume by Catherine Martin/Prada
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John Galliano, fall 1998 ready-to-wear
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Lara Menezes in John Gailliano
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Gucci, spring 2026 ready-to-wear
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Olivia Palermo in Gucci
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Ferragamo, fall 2025 ready-to-wear
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Rege-Jean Page in Ferragamo
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Maya Vozhdaeva in a Great Gatsby costume by Catherine Martin/Miu Miu
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Givenchy, fall 2025 ready-to-wear
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Devyn Garcia in Givenchy
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Armani Privé, fall 2024 couture
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Luiza Perote in Armani Privé
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Fendi, spring 2025 ready-to-wear
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Laura Harrier in Fendi
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Tom Ford, fall 2025
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Kyle MacLachlan in Tom Ford
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John Galliano, fall 2005 ready-to-wear
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Carolyn Murphy in John Galliano
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Catherine Martin/Prada costumes for 'The Great Gatsby'
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Adut Akech in a Great Gatsby costume by Catherine Martin/Prada
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Diane Chiu in a Great Gatsby costume by Catherine Martin/Prada
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Chanel, spring 2026 ready-to-wear
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Ayo Edebiri in Chanel
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Valentino, fall 2025 ready-to-wear
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Mika Schneider in Valentino
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Elizabeth Debicki in custom Miu Miu
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Act 2: The Renegades
Colleen Atwood, Costume Designer
Seán McGirr, McQueen, Creative Director
A moment for the rebels and the rabble-rousers! Costumes from Tim Burton’s Edward Scissorhands and Alice in Wonderland make a case for the gleefully gothic and keenly off-kilter—while allusions to seismic talents like Charlie Chaplin and Marlon Brando, action films like The Matrix, Shaft, and Everything Everywhere All at Once, and quirky dramas like The Royal Tenenbaums and Desperately Seeking Susan let filmdom’s freak flag fly.
Edward Scissorhands, 1990. Johnny Depp as the misunderstood namesake character with a heart of gold.
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Anok Yai wears a gothy, strappy look from McQueen by Seán McGirr in collaboration with Colleen Atwood
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From the Runway to Vogue World: Hollywood
Dilara Findikoglu, fall 2025 ready-to-wear.
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Rodarte, fall 2008 ready-to-wear
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Hodakova, fall 2025 ready-to-wear
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Junya Watanabe, fall 2025 ready-to-wear
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Issey Miyake, spring 2026 ready-to-wear
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Schiaparelli, fall 2025 ready-to-wear
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Hermès, fall 2025 ready-to-wear
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'Alice in Wonderland' dress
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Courrèges, spring 2024 ready-to-wear
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Courrèges, spring 2024 ready-to-wear
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Dolce & Gabbana, spring 2008 ready-to-wear
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Johnny Depp as the Mad Hatter in 'Alice in Wonderland', 2010
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Undercover, fall 2025 ready-to-wear
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Rodarte, fall 2008 ready-to-wear
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Ferragamo, fall 2025 ready-to-wear
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Balenciaga, spring 2026 ready-to-wear
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Rick Owens, fall 2024 ready-to-wear
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Undercover, fall 2025 ready-to-wear
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Act 3: Historical Heroines
Milena Canonero, Costume Designer
Nicholas Ghesquière, Louis Vuitton Women’s Artistic Director
History has served as a source of cinematic inspiration since time immemorial, and here, costumes from two especially beloved period dramas—Stanley Kubrick’s Barry Lyndon, and Sofia Coppola’s Marie Antoinette—hold court. All around them, new approaches to corsetry and panniers touch antique styles of dress with a thoroughly modern sense of movement—and more than a little magic.
Marie Antoinette: 2006. Kirsten Dunst as the ill-fated queen in a romantic costume by Milena Canonero.
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Lila Moss in a pretty panniered dress from Louis Vuitton by Nicolas Ghesquière
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A recreation of a look for Kirsten Dunst’s titular queen Sofia Coppola’s sherbet-toned film, designed by Milena Canonero and executed by Tirelli Costumes; Manolo Blahnik shoes
“I get inspiration from many sources, mainly artwork and photographs from different periods, [but] it is more about attitudes,” Milena Canonero once told Vogue. “Period movies have more style.”
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From the Runway to Vogue World: Hollywood
August Barron, spring 2026 ready-to-wear.
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John Galliano, spring 2004 ready-to-wear
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August Barron, spring 2026 ready-to-wear
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Erdem, spring 2026 ready-to-wear
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Vaquera, spring 2026 ready-to-wear
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Gucci, fall 2020 ready-to-wear
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Balenciaga. fall 2022 couture
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Christian Dior, spring 2026 menswear
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Marisa Berenson portrait from Stanley Kubrick's 'Barry Lyndon', 1975
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Gucci, fall 2020 ready-to-wear
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Dior, spring 2026 ready-to-wear
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Dior, spring 2026 ready-to-wear
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Christian Dior, 2025
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Christopher John Rogers, pre-fall 2024
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Louis Vuitton, spring 2022 ready-to-wear
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Act 4: Summer of Love
Arianne Phillips, Costume Designer
Marc Jacobs, Marc Jacobs, Creative Director
The heady sociopolitical climate of the 1960s and ’70s ushered in a new Hollywood aesthetic, defined by greater formal experimentation and a sharper focus on the issues of the day. One major influence in the vibe shift was the free love movement, represented here by characters from some of the most memorable romances ever made—among them Breathless, West Side Story, and Annie Hall. Original costumes from Once Upon a Time in Hollywood and Walk the Line set an additional groovy-but-grounded-tone.
The faux-python coat Margot Robbie’s Sharon Tate wears to the Playboy Mansion in Once Upon a Time… in Hollywood was modelled on the real-life Ossie Clark piece that Tate wore to the London premiere of Rosemary’s Baby in 1968. “Sharon and Roman Polanski lived in London during the Carnaby Street days,” Arianne Phillips recently told Vogue, “and experienced all the wonderful happenings of fashion and rock ‘n’ roll coming together in the late ’60s, right when our film was set.” For Phillips, it went beyond capturing Tate ’s style. “I felt that it was my responsibility to represent Sharon in the most authentic way. She was not only a beautiful and wonderful actress; she was an It girl.”
Margot Robbie as Sharon Tate in Once Upon a Time… in Hollywood.
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A coat, bag, and matching platform shoes by Marc Jacobs pay faithful homage to Arianne Phillips’s costuming for Margot Robbie, who starred as Sharon Tate
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Gracie Abrams carried those Summer of Love vibes, singing a cover of Carole King’s 'I Feel the Earth Move', while wearing a Chanel look from Matthieu Blazy’s debut for the maison
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From the Runway to Vogue World: Hollywood
Chanel, spring 2026 ready-to-wear.
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Reese Witherspoon as June Carter Cash in 'Walk the Line', 2005
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Joaquin Phoenix as Johnny Cash in 'Walk the Line', 2005
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Timothee Chalamet as Bob Dylan in 'A Complete Unknown', 2024
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Michael Kors Collection, spring 2019 ready-to-wear
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Bode, fall 2023 menswear
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Celine, spring 2017 ready-to-wear
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ERL, fall 2022 ready-to-wear
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Louis Vuitton, resort 2026
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Valentino, fall 2025 ready-to-wear
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Prada, spring 2025 ready-to-wear
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Louis Vuitton, fall 2024 menswear
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Etro, spring 2026
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Rabanne, fall 2024
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Gabriela Hearst, spring 2026 ready-to-wear
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Chloé, fall 2025
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Chloé, fall 2025
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Valentino, spring 2026
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Louis Vuitton, resort 2026
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Act 5: Avant-Garde
Sandy Powell, Costume Designer
Alessandro Michele, Valentino, Creative Director
Costumes from Sandy Powell’s period-hopping, gender-bending art-film masterpiece Orlando and Todd Hayne’s evocative musical drama Velvet Goldmine artfully reconcile the contemporary and the archaic, resulting in ensembles that still feel ahead of the curve. New and recent looks from Valentino, Gucci, Dior, Balmain, and Louis Vuitton, meanwhile, make their own strong claims on the future of fashion.
“I’ve done a lot of films, but there are very few where I was given the amount of artistic license and freedom I had on Orlando,” Sandy Powell shared recently with Vogue, adding that Tilda Swinton herself was at the heart of the costume. “I can’t design without knowing who’s wearing it—that’s the number one most important thing,” says Powell. “I know the general feeling; I know the kind of thing it could be. It’s not just about physicality and the colouring—it’s about how they present themselves, how they hold themselves. And their opinions really count, because we are building a character. I’m not just putting dresses on people or making somebody look good to go out for the night. It’s making somebody believe in a character.”
Tilda Swinton stars as Orlando, in a costume by Sandy Powell.
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A jaunty look from Valentino Haute Couture evokes Orlando’s nimble leaps through time—from the Elizabethan era to the 1990s—and fluid approach to gender
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From the Runway to Vogue World: Hollywood
Louis Vuitton, spring 2018 ready-to-wear.
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Valentino, spring 2025 couture
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Louis Vuitton, resort 2026
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Charlotte Vanlandrey and Tilda Swinton in 'Orlando'
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Gucci, spring 2026 ready-to-wear
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Gucci, spring 2023 ready-to-wear
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Gucci, spring 2026 ready-to-wear
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Louis Vuitton, spring 2018 ready-to-wear
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Jonathan Rhys Meyers stars as Brian Slade in 'Velvet Goldmine' with costumes by Sandy Powell
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Gucci, spring 2019 ready-to-wear
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Gucci, resort 2020
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Dries Van Noten, spring 2026 ready-to-wear
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Gucci, resort 2020
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Valentino, spring 2025 couture
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Valentino, spring 2025 couture
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Balenciaga, spring 2008 ready-to-wear
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Act 6: Afrofuturism
Ruth E. Carter, Costume Designer
Olivier Rousteing, Balmain, Creative Director
From Spike Lee’s Malcolm X to Ryan Coogler’s Black Panther, stirring visions of Blackness abound in this section—one that features not only major stars and models, but also a fleet of Balmain-clad dancers. Elsewhere on the runway, richly-worked fabrics in striking colorways and ingenious silhouettes speak volumes about power, presence, and permanence.
Awar Odhiang in a reworked Balmain design inspired by Ruth E. Carter’s designs for Marvel Studios’ Black Panther by Balmain.
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Danai Guirira in 'Black Panther', with costumes by Ruth E. Carter.
When the late Chadwick Boseman tried on his Black Panther costume for the first time, Ruth E. Carter recently recalled, “it was majestic. It had the power of whatever it is that lives inside people when they see a superhero. I just jumped up and down. The Black Panther was in my office!” To make the costume actually fit for a superhero, Carter collaborated with someone from the Boston Ballet, adding gussets for ease of movement. She went on to win Academy Awards for Black Panther and its sequel, Black Panther: Wakanda Forever. “Costume designing is about world-building.”
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From the Runway to Vogue World: Hollywood
Black Panther costumes by Ruth E. Carter.
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Off-White, fall 2025 ready-to-wear
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Proenza Schouler, spring 2017 ready-to-wear
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Off-White, fall 2023 ready-to-wear
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Proenza Schouler, spring 2017 ready-to-wear
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Off-White, spring 2025 ready-to-wear
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Diotima, spring 2026 ready-to-wear
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Maxhosa, spring 2026 ready-to-wear
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Balmain, fall 2014 ready-to-wear
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Louis Vuitton, fall 2021 menswear
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Balmain, fall 2017 ready-to-wear
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Balmain, fall 2014 ready-to-wear
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Luar, spring 2026 ready-to-wear
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Iamisigo, spring 2026 ready-to-wear
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Dries Van Noten, spring 2026 menswear
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'Black Panther' costume by Ruth E. Carter.
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Act 7: New World
Jacqueline West, Costume Designer
Pieter Mulier, Maison Alaïa, Creative Director
Fortune and fashion both favour the bold—leading us to a section based on films about distant lands and the forging of new frontiers. Original pieces from Denis Villeneuve’s Dune franchise and Alejandro González Iñárritu’s The Revenant balance the space-age and the earthbound, underscoring the vast potential of human enterprise—while designs by Alaïa, Marc Jacobs, Maison Margiela Artisanal, and other houses plumb the outermost reaches of the fashion imagination.
Dune: Part II costume by Jacqueline West.
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Model Gigi Hadid tries on a stillsuit designed by Jacqueline West for Chani, the sylphlike (yet fearsome!) character played by Zendaya in Denis Villeneuve’s 'Dune' films
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A finely worked Alaïa top and skirt nods to the long, dark robes of Dune’s formidable Bene Gesserit
When Denis Villeneuve approached Jacqueline West to do the costumes for Dune, her initial response was, “But I don’t do sci-fi!” In fact, that was precisely why Villeneuve was interested. “He said, ‘I want it to be grounded in the past even though it’s the future.’ I think one of the reasons he asked me to do it,” West recently told Vogue, “was because he liked my work in The Revenant, because I’m grounded in realism.”
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From the Runway to Vogue World: Hollywood
Maison Margiela, fall 2025 couture.
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Calvin Klein Collection, fall 2025 ready-to-wear
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Calvin Klein Collection, fall 2025 ready-to-wear
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Calvin Klein Collection, fall 2025 ready-to-wear
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Burberry, fall 2025 ready-to-wear
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Calvin Klein Collection, fall 2025 ready-to-wear
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Calvin Klein Collection, fall 2025 ready-to-wear
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Calvin Klein Collection, fall 2025 ready-to-wear
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Burberry, fall 2024 ready-to-wear
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Burberry, fall 2024 ready-to-wear
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Rick Owens, fall 2022 ready-to-wear
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Louis Vuitton, resort 2023
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Schiaparelli, fall 2025 ready-to-wear
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Alaïa, fall 2025 ready-to-wear
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The Row, resort 2024
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Doja Cat wears a custom Aunty Entity costume by Michael Schmidt based on the one worn by Tina Turner in 'Mad Max: Thunderdome', as she performed her latest hit 'Gorgeous'
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Tina Turner in 'Mad Max: Thunderdome'
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Iconic characters
Throughout the show, some of film history’s most iconic and beloved characters strolled through the Paramount lot, a quick glimpse of their instantly recognizable visage sending guests through nostalgia-fuelled trips down memory lane. The costume designer Shirley Kurata, who was most recently nominated for an Academy Award for her work in Everything Everywhere All at Once, dressed all 53 of these legendary characters in a mix of vintage costumes and runway looks. Which one was your favourite?
Elizabeth Taylor in Cleopatra, 1963.
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Balmain, fall 2025 ready-to-wear
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Jean Harlow as Kitty Packard in 'Dinner at Eight', 1933
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Ralph Lauren, spring 2005 ready-to-wear
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Maggie Cheung as Mrs. Chan in 'In the Mood for Love', 2000
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Marlene Dietrich as Amy Jolly in 'Morocco', 1930
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Nina Ricci, fall 2024 ready-to-wear
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The inimitable Jessica Rabbit in 'Who Framed Roger Rabbit?'
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Stella McCartney, spring 2026 ready-to-wear
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Marlon Brando as Johnny Strabler in 'The Wild One', 1953
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Charlie Chaplin as the Lone Prospector in 'The Gold Rush', 1925
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John Galliano, spring 2011 menswear
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Stephanie Hsu as Jobu Tupaki in 'Everything Everywhere All at Once', 2022
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Gwyneth Paltrow and Ben Stiller as Margot and Chas Tenenbaum in 'The Royal Tenenbaums', 2001
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Gucci, fall 2015
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Madonna as Susan Thomas in 'Desperately Seeking Susan', 1985
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Margot Robbie in Barbie, 2023
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Diana Ross as Billie Holiday in 'Lady Sings the Blues', 1972
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Thom Browne, fall 2024 ready-to-wear
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Stacey Dash and Alicia Silverstone as Dionne Davenport and Cher Horowitz in 'Clueless', 1995
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Andreas Kronthaler for Vivienne Westwood, fall 2025
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Redd Foxx, Eddie Murphy, and Richard Pryor in 1989’s 'Harlem Nights'
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Faye Dunaway and Warren Beatty in 'Bonnie and Clyde', 1967
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Diane Keaton in 'Annie Hall', 1977
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Richard Roundtree as Shaft in 'Shaft', 1971
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Tippi Hedren as Melanie Daniels in 'The Birds', 1963
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Marilyn Monroe in 'The Seven Year Itch', 1955
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Marc Jacobs, fall 2024
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Marilyn Monroe in 'The Seven Year Itch', 1955
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Keanu Reeves in 'The Matrix', 1999
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Fear of God, fall 2023 menswear
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Rita Moreno as Anita in 'West Side Story,' 1961
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January 1961: Rita Moreno and George Chakiris attract an audience in a scene from 'West Side Story', directed by Robert Wise and Jerome Robbins
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Michelle Pfeiffer and John Malkovich as Madame de Tourvel and Valmont in 'Dangerous Liasions', 1988
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Olivia Newton John and John Travolta as Sandy Olsson and Danny Zuko in 'Grease', 1978
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Carrie Fisher as Princess Leia in 'Star Wars: A New Hope', 1977
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Grace Kelly as Lisa Carol Fremont in 'Rear Window', 1954
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This custom look by Tory Burch brings in elements from the resort 2026 collection, including a hand-draping technique that features knots around the bodice, and offers the designer’s take on Atonement's thirties style, as first imagined for the film by the costume designer Jacqueline Durran
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Keira Knightley as Cecilia Tallis in 'Atonement', 2007
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Humphrey Bogart and Ingrid Bergman as as Rick Blaine and Ilse Lind in 'Casablanca', 1942
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Audrey Hepburn as Holly Golightly in 'Breakfast at Tiffany's', 1961
This story was originally published on Vogue.com.
