Peak red carpet method dressing, from ‘Dune’ to ‘Wicked’: which TV series or movie cast did it best?

On the Dune: Part Two press tour, Zendaya and Timothée Chalamet leaned into method dressing in a way that echoed their desert‑world characters while remaining fashion‑forward. Their looks didn’t mimic the film’s costumes, but they referenced its aesthetic language: metal, leather, structure and future-tribal aesthetic.

At the London premiere, Zendaya wore an unforgettable vintage Thierry Mugler “cyborg” bodysuit from the 1995 haute couture collection, styled by Law Roach. The chrome structure, built-in gloves and plexiglass inserts evoked the film’s futuristic, armoured spirit. Chalamet matched the tone: he paired metallic skinny trousers by Haider Ackermann with a loose black shirt and a Cartier necklace inspired by sand. 

For the New York premiere, she opted for a white couture gown by Stéphane Rolland, featuring angular cut‑outs and a hem adorned with gold embellishments—a visual echo of Dune’s architectural and sand-like motifs.

Florence Pugh, who plays Princess Irulan, also used method dressing to channel royalty and mystique: at the London premiere, she wore a hooded Valentino gown covered in russet sequins, designed by Pierpaolo Piccioli, which felt both celestial and grounded in her character’s intergalactic lineage.

Who knew tennis could inspire so many fashion looks? Zendaya’s Challengers press tour demonstrates method dressing at its most literal-meets-couture, translating her character Tashi Duncan’s tennis life into red carpet fashion. Across cities, she worked with stylist Law Roach to echo the sport’s aesthetic through fabric, silhouette and detail, without resorting to costume replication.

During the Sydney premiere, she wore a custom green sequined gown by Loewe, featuring a plunging neckline and a thigh-high slit, with a subtle tennis-player graphic woven into the design. At a Rome photocall in early April, she opted for a silver mini by Loewe with a pleated tennis-skirt silhouette, paired with white heels topped with neon-yellow tennis balls—playful but precise in referencing her character’s world.

In London, Zendaya’s white sequin halter-neck gown by Thom Browne, embroidered with tiny crossed racquets and a pleated drop-waist skirt, drew on Wimbledon tradition, combining elegance with narrative subtlety. For Monte Carlo, she wore a custom two-piece from On Running, a polo-style crop top and pleated mini skirt inspired by tennis legend Althea Gibson, merging history, sport and couture.

Zendaya also reached into fashion archives for the Milan photocall, choosing a white Ralph Lauren halter tennis dress famously worn by Cindy Crawford in 1992, paired with white Louboutin pumps. For the Los Angeles after-party, she made a vivid statement in a custom neon green halter gown by Celia Kritharioti, complete with a tennis-ball motif at the bodice.

Throughout the tour, Zendaya’s choices show how method dressing can extend a character beyond the screen. Each outfit, whether referencing tennis attire, archival pieces or couture interpretation, became part of the storytelling, turning the red carpet into a continuation of the Challengers world.

Anya Taylor‑Joy’s red carpet choices for Furiosa: A Mad Max Saga show how method dressing does not have to be so literal—or as muddy and sandy as the characters’ closet. Across the global press tour, she drew on archival couture, structured silhouettes and metallic accents to channel the film’s dystopian, warrior energy.

At the Sydney premiere, she wore a metallic chain‑mail mini dress from Paco Rabanne’s Spring/Summer 1996 couture collection. Styled by Ryan Hastings, the dress featured sculptural waist embellishments reminiscent of weapons, paired with a matching spiked headpiece. The ensemble evoked Furiosa as a mythic, armoured figure.

For the Mexico City photocall, Taylor‑Joy wore a structured white ensemble by Robert Wun, combining an exaggerated-shoulder blazer, black bandeau top and leather skirt. The clean lines suggested tension and formality while maintaining a modern edge. At a Hollywood screening, she opted for a leather bustier minidress by Acne Studios, continuing the post-apocalyptic, warrior-inspired aesthetic without turning costume‑like.

Across all appearances, Taylor‑Joy’s wardrobe shows how method dressing extends the story beyond the screen. Each outfit embodies Furiosa’s mythic strength and dystopian world, making the red carpet an extension of the film itself rather than a standalone fashion showcase.

Jenna Ortega’s press‑tour wardrobe for Wednesday Season 2 is a masterclass in method dressing, translating her character’s gothic essence into couture choices that extend Wednesday Addams beyond the screen. Each outfit interprets character traits like wit, darkness and eccentricity, rather than simply echoing a costume.

At the London premiere in July, she wore a snakeskin latex gown by Ashi Studio with a sheer, tattered mermaid skirt. The combination of constrained bodice and flowing skirt suggested both control and unpredictability, mirroring Wednesday’s calculated yet chaotic nature. Her bleached brows and smoky eyes reinforced the gothic undertone.

For the Paris event, a chocolate-brown Vivienne Westwood by Andreas Kronthaler gown with ruffled neckline and sheer corseted bodice channelled Wednesday’s theatricality. In Seoul, she combined a surreal, painterly Simone Rocha bodysuit with a tiered tweed-and-tulle skirt, blending whimsy with gothic undertones. This outfit highlighted how method dressing can translate narrative subtleties.

Across every event, Ortega and stylist Enrique Melendez used method dressing to make the red carpet an extension of character. Fabrics, silhouettes and accessories were chosen to echo Wednesday’s personality traits, resulting in one of the truly iconic fashion runs in red carpet history.

For Wicked and its continuation, Wicked: For Good, the red carpet has functioned as an extended chapter of Oz, shaped carefully through method dressing. Cynthia Erivo and Ariana Grande approached the tour as a visual dialogue between their characters, using couture to trace the evolution of Elphaba and Glinda. 

At the Wicked: For Good European premiere, the traditional carpet was replaced with a yellow brick road. Erivo arrived in a navy and black look by Prada, complete with glossy detachable sleeves that recalled Elphaba’s intensity without turning literal. Styled by Jason Bolden, the dress echoed her character’s power through structure and texture, balancing sharpness with control. This was method dressing used to convey atmosphere rather than replicate costume.

Grande took a different route. Instead of the pink associated with Glinda, she wore a vintage one-shoulder black gown by Gilbert Adrian, scattered with subtle shimmer. The darker palette hinted at the narrative shift, where the characters move into more layered emotional territory. Her hair, styled into a clean ballerina bun, and a diamond choker kept the look polished. This created a Glinda who feels grounded rather than ornamental, a considered use of method dressing to signal growth.

Across earlier tour stops, they leaned more overtly into their signature palettes. Grande wore pale pink Balenciaga couture in Singapore with a soft, romantic finish that nodded to Glinda’s classic charm. Erivo embraced green at several events, including a Dior cape and skirt set that balanced structure with drama.

A series of standout film and TV releases brought a wave of memorable press tour style, with each cast finding its own visual language. From hyper-polished couture moments to character-driven fashion nods, these appearances shaped the conversation long before the premieres even began—and long after the films and TV shows have been released. Which cast was your favourite on the red carpet?

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