{"id":993,"date":"2026-07-20T10:37:20","date_gmt":"2026-07-20T10:37:20","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=993"},"modified":"2026-07-20T10:37:20","modified_gmt":"2026-07-20T10:37:20","slug":"the-divine-red-carpet-looks-of-the-odyssey-press-tour","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=993","title":{"rendered":"The Divine Red-Carpet Looks of \u201cThe Odyssey\u201d Press Tour"},"content":{"rendered":"
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Hollywood stars have been dressing up for movie premi\u00e8res for almost as long as there have been movie premi\u00e8res. As early as the nineteen-twenties, fans would line up outside Grauman\u2019s Chinese Theatre to catch a glimpse of actresses, decked out in slinky bias-cut gowns and feather boas, as they sauntered between their town cars and the theatre, assaulted by flashbulbs along the way. But, for the most part, stars felt no pressure to dress up like<\/em> the films they were promoting. Judy Garland chose not gingham but sequins and white fur during the press tour for \u201cThe Wizard of Oz.\u201d Why would anyone choose to remain in a dowdy costume, when she could ooze with glamour instead?<\/p>\n

Read more How Biden Enabled Israel\u2019s Aggression Toward Gaza\u2014and Iran<\/a><\/p>\n

Of course, through the years, there have been examples of actors drawing sartorial inspiration from their projects\u2014in 1992, for example, Geena Davis wore a white minidress emblazoned with baseball stitching for the premi\u00e8re of \u201cA League of Her Own\u201d\u2014but the examples are few and far between. Movie stars of the past, the memorable ones, anyway, had their own signature sense of style; they didn\u2019t need to borrow from a film to cultivate it. Then, around five years ago, a strange phenomenon started to pop up, as stars stepped out on red carpets in glammed-up versions of their characters\u2019 onscreen looks. This came to be known as Method Dressing, a term first coined by the Vogue<\/em> writer Andr\u00e9 Wheeler to describe movie stars who dress to match whatever project they are currently hawking. The trend began as a trickle\u2014Halle Bailey showing up in seafoam gowns during the press run for \u201cThe Little Mermaid,\u201d say\u2014but it reached an apotheosis in the summer of 2023, also known as the summer of \u201cBarbie\u201d mania.<\/p>\n

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On July 12, 2023, Greta Gerwig\u2019s \u201cBarbie\u201d held a glamorous London premi\u00e8re; the following day, Christopher Nolan\u2019s \u201cOppenheimer\u201d did the same. The day after that, SAG-AFTRA<\/em>, the union representing most screen actors, went on strike over issues relating to fair compensation and the growing use of artificial intelligence, bringing all film and television promotional campaigns to a standstill. A week later, \u201cBarbie\u201d and \u201cOppenheimer\u201d both had huge openings: \u201cBarbie\u201d pulled in $70.5 million on its first day in theatres, making it the biggest opening of the year, and \u201cOppenheimer\u201d did thirty-three million dollars. Together, the two films, which came to be known collectively as \u201cBarbenheimer,\u201d brought in nearly two hundred and fifty million dollars worldwide in one weekend. The bulk of the marketing push for both movies happened well before the strike, meaning that their success was relatively unaffected by stars being pulled from the promo circuit. \u201cOppenheimer\u201d had a comparatively standard press run, but it benefitted mightily from its proximity to \u201cBarbie,\u201d which had one of the most aggressively bonkers publicity campaigns in recent memory. Warner Bros. spent a reported hundred and fifty million dollars to market Gerwig\u2019s film\u2014exceeding the amount they\u2019d spent on the movie itself\u2014and Mattel launched more than a hundred brand collaborations, from a fuchsia-colored Xbox to bubblegum-hued Crocs.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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But perhaps the most influential \u201cBarbie\u201d marketer was the film\u2019s star, Margot Robbie, who, along with her stylist, Andrew Mukamal, crafted an immersive, months-long red-carpet offensive that blurred the lines between character and actress to the point where she began to resemble a Mattel product herself. That summer, she wore a polka-dotted minidress to mimic 2015\u2019s Pink & Fabulous Barbie, a black-and-white Herv\u00e9 L\u00e9ger bandage dress in homage to the first Barbie\u2019s striped swimsuit, and a hot pink Versace power suit as a reference to 1985\u2019s Day-to-Night Barbie. Sometimes these looks were pulled from current collections, but several were created specifically for the press blitz, such as the custom, black-sequinned strapless Schiaparelli trumpet gown, with matching opera gloves, that she wore to the L.A. premi\u00e8re, created by the designer Daniel Roseberry as an exact replica of a dress worn by a nineteen-sixties lounge-singer version of Barbie. It was a pleasing exercise in nostalgic kitsch, but it also felt somewhat uncanny to watch a movie star sublimate her own aesthetics to that of a giant corporation. She seemed to be having fun, but, at the end of the day, it was clear that she was doing a job. As a result, the entire \u201cBarbie\u201d press tour had a kind of \u201cI will<\/em> sell this house today\u201d determination that seemed less celebratory than baldly capitalistic. While most actresses in big summer blockbusters are expected to promote them, never before had the effort been so transparent to the public. And what\u2019s more\u2014it worked, strike be damned. \u201cBarbie\u201d made more than $1.4 billion, making it the highest-grossing film of the year, and the most lucrative Warner Bros. effort of all time.<\/p>\n

The \u201cBarbie\u201d summer shifted something, fashion-wise, in Hollywood. Method Dressing became the de-facto tactic for stars rolling out a big release, and for the stylists who dress them. Look around, and you\u2019ll see it everywhere: Jenna Ortega in goth-y getups referencing her role on \u201cWednesday\u201d; Blake Lively dressing (a bit discordantly) in bright maximalist florals to promote \u201cIt Ends with Us,\u201d a film about a flower-shop owner in an abusive marriage; Austin Butler vrooming into a press conference for \u201cThe Bikeriders\u201d in a vintage motorcycle jacket and a Harley-Davidson tee. Some of these vertical integrations have been more successful than others. Last winter, when Timoth\u00e9e Chalamet was vying for an Oscar for his starring role as a competitive Ping-Pong player in \u201cMarty Supreme,\u201d he turned up at the premi\u00e8re in a head-to-toe leather suit by Chrome Hearts in the Doritos-orange hue that his film avatar uses to brand his trademark Ping-Pong balls. (Chalamet\u2019s girlfriend, Kylie Jenner, wore a matching dress in the same nacho-cheese shade.) The effect was, over all, pretty goofy\u2014and seemed to underscore Chalamet\u2019s unapologetic eagerness to put himself in the awards conversation. The same air of trying a bit too hard surrounded Robbie\u2019s latest film campaign, for \u201cWuthering Heights,\u201d in which Mukamal put her in over-the-top Victorian-inspired gowns, festooned with drooping lace, braids of human hair, and bordello-esque corsetry, which had a whiff of costume-party cringe.<\/p>\n

But Method Dressing, as an idea, doesn\u2019t necessarily need to be tasteful. It needs to be remarkable, which is to say, it must get people chattering\u2014it is a marketing maneuver, after all. Hollywood studios, despite some bounce back after the dual hits of the pandemic and the strike year, are still struggling to get people into theatres. Its stars, as dedicated employees of the machine, are all too willing to do whatever it takes to help. Most of what they do to support their film projects\u2014scarfing wings on \u201cHot Ones\u201d or chips on \u201cChicken Shop Date,\u201d playing with puppies for BuzzFeed, confessing their sins and private proclivities on every podcast under the sun\u2014can come across as canned and effortful, and the press tour, with its sartorial demands, is no exception. Which brings me to the red-carpet rollout for Christopher Nolan\u2019s \u201cThe Odyssey.\u201d For some reason, it has felt like a different sort of Method Dressing exercise, one that seems remarkably joyful and even, at moments, gleefully spontaneous, despite being as thoroughly planned out as any other major marketing swing. Everyone looks glowing and glamorous, despite sticking generally to a dutiful antiquities theme. What\u2019s going on here?<\/p>\n

Read more Method Beats Madness at the World Cup Final<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Perhaps the answer is as simple as Law Roach, the maverick stylist who prefers to be known as an \u201cimage architect,\u201d and who has worked with the actress Zendaya, who plays the goddess Athena in Nolan\u2019s film, since 2011. Roach, whom my colleague Jennifer Wilson profiled for this magazine in 2024, is perhaps the most sophisticated practitioner of Method Dressing working today. (As Maison Schiaparelli\u2019s Roseberry told Wilson, there are many imitators doing less successful themed styling, or what he calls \u201cDiet Roach.\u201d) Roach\u2019s strategy, when it comes to dressing Zendaya for a film campaign, tends to be quite literal\u2014he put her in Loewe pumps adorned with actual tennis balls during the \u201cChallengers\u201d press tour\u2014but also deeply attuned to the world of high fashion. He is a scholar of archival couture, known to keep decades of past runway looks in his head and to pull out just the right thing to evoke the mood of a film without leaning into explicit caricature. In February of 2024, he put Zendaya in a vintage Mugler \u201cGynoid\u201d robot suit for a \u201cDune: Part Two\u201d premi\u00e8re, a gasp-inducing piece that made her look like a gamine android rather than a Comic-Con attendee. For the same film, he also worked with designer Olivier Rousteing, of Balmain, to create a skintight, sand-colored leather dress that took more than two years to come to fruition. Despite the long gestational period, the look felt fresh and full of \u00e9lan. It could be the way Zendaya wears clothes\u2014confidently and yet casually, as if a couture gown were a pair of beloved, well-worn jeans\u2014but it also has something to do with the intention to showcase high fashion on a grand scale, rather than to merely plug a film.<\/p>\n

Zendaya\u2019s looks for \u201cThe Odyssey\u201d press run have been nearly pitch-perfect, trading in goddesslike codes, such as Grecian draping and lots of cream and gold, while also not feeling so on-the-nose as to be off-putting. Some highlights include an archival ivory Givenchy minidress by McQueen, with giant, sail-like sleeves and a gold-filigree mask by Philip Treacy; a billowy white custom Jacquemus sheath paired with a matching head scarf and three-thousand-year-old-hammered-disc-shaped earrings; and a pleated Alberta Ferretti sundress with knee-high gladiator sandals. But the two looks that stand out the most were dresses that Roach pulled straight from the couture shows in Paris\u2014rarefied, one-of-a-kind gowns that few people ever get to see out in the world, let alone on an A-list celebrity. For the film\u2019s world premi\u00e8re in London, Zendaya wore a Schiaparelli look, taken from the runway mere hours after the house\u2019s Paris show, whose molded silicone corset was made to look like a marble bust. For one of the film\u2019s New York openings, Zendaya turned up in a breathtaking ensemble from the avant-garde French collective Mati\u00e8res F\u00e9cales\u2014a white gown with a twisted, molded bodice and long train, paired with an enormous pair of feathered angel wings\u2014that received a rapturous reception on social media. (Many were quick to note that, in the wake of her marriage to her \u201cOdyssey\u201d and \u201cSpider-Man\u201d co-star Tom Holland, she radiated a bridal glow.) On someone else, perhaps, the effect may have been too much\u2014angelic cosplay can easily veer toward Victoria\u2019s Secret\u2014but there was an ethereal lightness to the way that Zendaya carried herself that made her seem almost poised for flight. For Roach, every one of Zendaya\u2019s press campaigns has become a kind of Trojan horse: a chance for people to experience and appraise luxury fashion, which, much like Hollywood, is struggling to find meaningful traction among the general public these days.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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It\u2019s not only Zendaya who made Method Dressing seem particularly buoyant during this campaign. Anne Hathaway, who stars as Penelope, dazzled in a series of regal looks pulled for her by her stylist Erin Walsh, including a diaphanous Dior dress in a shocking periwinkle color; the latter subtly referenced the jewel tones Hathaway wears throughout the film, as a woman who refuses to grieve for her missing husband, fervently believing he will return. Lupita Nyong\u2019o, who plays Helen of Troy, has appropriately conjured \u201cthe most beautiful woman in the world\u201d through a series of shimmering metallic gowns, such as a silver Christian Cowan sheath that floated down like gossamer chain mail. Charlize Theron, who takes on the role of the temptress nymph Calypso, has leaned toward the seductive, wearing Tom Ford short-shorts on one carpet and a black Givenchy dress with a thigh-high slit on another.<\/p>\n

If the male stars of the film (Matt Damon, Holland, Robert Pattinson) stuck to a series of black tuxes and brown suits, the women of \u201cThe Odyssey\u201d have seemed to fully delight in this press run, taking an exquisite kind of pleasure in what feels more like a victory parade than a publicity obligation. They may simply be relieved to be in a film that is a pre-baked blockbuster; \u201cThe Odyssey\u201d is set to make more than a hundred million dollars in its opening weekend. Perhaps they are aware that as Hollywood studios become more imperilled by the day, it\u2019s indie films like \u201cObsession\u201d and \u201cBackrooms\u201d that are raking in much of the profit and attention, with no major red carpets in sight. Or maybe they realize that they might be the last generation of mega-stars who can sell a feature by pure force of glamour. Whatever the reason, they seem to be luxuriating in this privilege like the gods, while the rest of us sweat, down here on earth, in a fire-smoke haze, trying not to eat parasite-laced lettuce. But even these screen deities, so far removed from the rest of us, are ultimately tied to mere mortal concerns: no matter how sparkly and sublime the clothes, they are there to sell you something, be it a fantasy or a film ticket. \u2666<\/p>\n

Read more A New Crop of Unapologetic Sandwiches<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Rachel Syme on the red-carpet looks from the stars of Christopher Nolan\u2019s film \u201cThe Odyssey,\u201d including Zendaya, Anne Hathaway, Lupita Nyong\u2019o, and Charlize Theron.<\/p>\n","protected":false},"author":1,"featured_media":992,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[],"class_list":["post-993","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-lede"],"yoast_head":"\nThe Divine Red-Carpet Looks of \u201cThe Odyssey\u201d Press Tour - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=993\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Divine Red-Carpet Looks of \u201cThe Odyssey\u201d Press Tour - 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