As the sun set over the Hollywood Hills, the lights went up at Paramount Studios, the setting for tonight’s fourth edition of Vogue World. Nicole Kidman, doing her best Gilda In a custom-made strapless black Chanel dress, she strutted down the runway, panting for the camera, directing Baz Luhrmann: “Let’s hear it from the audience. Extra, extra, give us extra… keep focus… and hair, she looks to her future, hold the thought, keep focus, and… cut.” With that, the show began.
Like its predecessors in New York, London, and Paris, Vogue World: Hollywood celebrated the city in which it took place. In particular, this year’s runway spectacular, which was styled over and over again Vogue Contributor Alex Harington highlights the enduring connection between fashion and film, showcasing the output of some of the most successful and influential female clothing designers of the past five decades.
“Between fashion design and apparel designers, there is something very special about the common thread,” said Ariane Phillips. Vogue. “It’s a conversation we as costume designers are all too familiar with when we look at how culture evolves around a film. We all know films, e.g. Annie Hallor Star Warsit has informed not only the way we dress, but the way we think.
After a magical hour of cocktails that included stargazing such as Venus Williams, Kathryn Hun, Carol G., and Alex Konsani’s parents Lisa and Anthony, the show included, in seven acts, a costume designer about a costume designer and, with each other, Hollywood Glamour, an essay on Kathryn Martin, Luhrmann’s wife, and an essay on filmmaking, Luhrmann’s wife and the film. Sazi was an article. Moulin Rouge! And The Great Gatsby. This section was all razzle-dazzle, the Prada look Gatsbya gown from Alessandro Michele’s Gucci show on Hollywood Boulevard a few years ago, and a beige veiled flapper dress from one of the late Giorgio Armani’s final collections.
Anouk Yee, modeling a reproduction of Johnny Depp’s elaborate Colleen Atwood design Edward ScorehandLed by the Renegades section, which also included musician Quintessence Sandel and actor Cody Summitt McPhee Alice in WonderlandAlice and the Mad Hatter. Barry Linden And Marie AntoinetteBehind the historical heroines is the woman. The theme gave Harington a chance to go truly vintage: there were new-season pieces by the likes of Vicera and August Baron, as well as a circa-2004 John Galliano gown for Dior.
Gracie Abrams, wearing spring 2026 Chanel by Matthew Blazzi and performing Carole King’s 1971 hit, “I Feel the Earth Move,” and her own chart-topper “It’s So True,” kicked off Summer of Love, featuring a trio of Phillips films: Once upon a time in Hollywoodfor , for , for , . walk the line, And A complete unknown. Scarlett White (daughter of Jack White and Karen Elson) cashed in her best Jon Carter in a dress that helped Reese Witherspoon land her first Oscar, and Lela Moss transformed her mama Kate into a festival-ready Valentino.
Hunter Shaffer looked like a latter-day Tilda Swinton in Sandy Powell Orlando Clothing, head of the Renaissance Rock chapter. Proving the show’s thesis, this influence moves in an endless circle between fashion and film, Powell’s glam rock. Velvet Gold Mine The suit and Nicolas Ghesquière’s 18th-century glitter coat looked like kissing cousins, and Michelle’s haute couture Valentino, brought to life by Consani (get that woman a movie deal!), could do double duty on her. Orlando Set
Next up were Danny Guerra and Tiana Taylor playing the Dora Milaje Warriors and Angela Bassett, rejecting her role as Queen Raymonda, and earning gasps from the audience as just a royal Kane. Black Panther Costume designer Ruth E. Carter assisted with the Afro-Fotoism chapter. Pieces from the late Virgil Abloh and emerging African labels Imesego and Orange Culture were included here, along with custom-made dancer costumes by Balmain’s Olivier Rousteing.
The final act was punctuated by a freeman outfit Dunn’s A sensational gown by costume designer Jacqueline West, and Glenn Martins’ maison Margiela Artesanelle’s first film debut, worn by Overodian. In between, Matthew Nowszka singles out Leonardo DiCaprio The Revenant The costume (thankfully there was no grizzly bear with her) and Duja Cat was a very believable Tina Turner. Mad Max: Beyond Thunderdome; Her dress was made by Michael Schmidt, who often worked with the late pop superstar.
As many celebrities were on the runway, there were many more on the front row, with Miley Cyrus, Dakota Johnson, Viola Davis, and Gwyneth Paltrow among them, along with Con designers, Nicolas Ghesquière, Anthony Vaccarello, and Zac Posen. California Governor Gavin Newsom even turned to it. Ticket proceeds from Vogue World: Hollywood reached $4.5 million, all of which will go to the Entertainment Community Fund, a national human services organization that serves the needs of people working in the arts and entertainment.
Now and then, other memorable characters from movies, produced by Everything everywhere at onceShirley Kurata of Shirley walked by, whispering to her cast mates, or waving hello to a star from another movie. From one direction came Marilyn Monroe the seven-year itch, As reimagined by Marc Jacobs, another starring Thom Browne and Vivienne Westwood clueless Tweeds, and that was a tip of the proverbial bowler’s hat to Charlie Chaplin’s masterpiece Modern times Spring 2011 by John Galliano? Yes, yes it was.
Model Betsy Gigan walks the runway in Diane Keaton’s iconic Annie Hall Khakis, vest, and tie (thank you, Ralph Lauren), along with his song, “Seems Like Old Times” on the soundtrack, was one of the show’s most resonant moments. As Phillips said, great movies make us think. We feel very good. Vogue World: Hollywood captured a bit of that movie magic. “Good vibes” all around.
