Dressed for an Odyssey
Dressed for an Odyssey
By Emma Gentry — September 21 2026
Before the opening credits rolled, Christopher Nolan’s The Odyssey had already set the tone.
In London, Paris and New York, the cast wore outfits with flowing fabrics, metallic details, bold colors and sharp tailoring. While the looks referenced Homer’s epic, they never became simple costumes; they kept the focus on method dressing rather than direct imitation. Across the three cities, the same idea held: the press tour used fashion to build a world around the film.
London: Study in Contrast
The London premiere introduced the tour’s mix of soft color, metallic shine and sharp tailoring.
Zendaya began the evening with a dramatic outfit change. She first appeared in a sculpted, light-reflecting Schiaparelli couture gown before changing into the gray Valentino dress photographed with the cast, its olive-leaf bodice turning a classical reference into something softer and more romantic.
Anne Hathaway's sky-blue Dior dress stood out in color, Lupita Nyong'o shone in a silver Christian Cowan gown and Charlize Theron looked severe in black velvet Givenchy. Mia Goth's embroidered white Dior and Samantha Morton's simple Bottega Veneta dress finished off the womenswear.
The men did not disappoint. Robert Pattinson opted for a classic Dior suit, while Tom Holland went more modern with his look by Gieves & Hawkes. Rounding off the red carpet, leading man Matt Damon wore a timeless three-piece Brunello Cucinelli suit.
Paris: Color Takes the Lead
In Paris, the cast leaned further into richly colored, detailed fashion.
At the photocall, Zendaya wore an archival 1997 Givenchy haute couture mini-dress by Alexander McQueen, pairing the myth-inspired piece with a gold face mask by Philip Treacy. Hathaway wore midnight-blue Prada, Nyong’o chose shimmering Armani Privé and Theron selected an unexpected mix of sharp tailoring and pale silk shorts from Tom Ford.
At the premiere, the emphasis shifted again. Theron's black-and-ivory Dior gown looked as though it was made from pieces of an old fresco, while Nyong'o's red Chanel cut-out dress gave the collection a warm impression. Hathaway chose a brown Louis Vuitton plissé gown with an empire waist and Zendaya's white Louis Vuitton dress featuring lace, cut-outs and flowing ruffles.
The men stayed away from the usual black suit: Holland wore olive green Anderson & Sheppard, Damon was clad in burgundy Brunello Cucinelli and John Leguizamo went with a deep brown. Set against the more somber backdrop, the group looked well-dressed, earthy and intentionally dramatic.
New York: The Final Act
In New York, the tour ended with its clearest color code. The women wore white and gold, while the men wore dark, tailored suits.
Hathaway's custom Prada gown featured fine pleats beneath a crystal-embroidered bodice, and Nyong’o wore gold Nicholas Oakwell Couture with sculptural Sabyasachi jewelry. Theron enhanced the dramatic atmosphere in a white Dior tuxedo minidress, while Morton chose a printed, robe-like design from Maison Margiela that defied the evening's goddess theme.
Holland donned a modern, collarless Fear of God suit. Damon stayed classic in a Ralph Lauren Purple Label and Leguizamo opted for a black double-breasted suit.
The final image of the journey showed Zendaya in a white Matières Fécales gown complete with full feathered wings. The look's romantic effect came from hairstylist Coree Moreno's deconstructed fishtail braid and Ernesto Casillas's luminous, minimal makeup. Although the wings created the spectacle, the softness made it memorable.
By the time they reached the last flashbulb, the cast had taken method dressing beyond one star or a clear reference. Their wardrobes moved from the ancient to the modern without fully settling into either period, so that the press tour seemed less like a promotional effort and more like world-building. In that way, the tour’s real story was not just the outfits themselves, but the shared idea they kept returning to.
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