Jodie Comer brings dark glamour to Givenchy sheer lace premiere look

Jodie Comer did not use sheer dressing to flash skin for its own sake. At the New York premiere of The Death of Robin Hood, she wore a black Givenchy by Sarah Burton gown that made transparency look disciplined, almost severe, with a high neckline, long sleeves, a floor-skimming hem and an open back.

The dress came from Sarah Burton’s Pre-Fall 2026 collection and was described as an open-back black sequined Lyon lace look. On Comer, the effect was less overt reveal than controlled tension: the lace read delicate at a distance, but the long line and covered top half gave it a formal, evening-first polish. It was the kind of look that understands how sheer dressing has evolved. After seasons of naked dresses that relied on shock value, Burton has made the idea feel sharper, more wearable and better suited to a premiere carpet.

That shift matters because Comer’s dress sat exactly between glamour and restraint. The silhouette stayed long and lean, which kept the focus on cut and texture rather than exposure, and the black sequined lace gave the gown depth under the lights at AMC Lincoln Square 13 in New York City on Wednesday, June 10, 2026. This was dark glamour with structure, not spectacle, and that is precisely why it landed.

The appearance also fit the mood around Sarah Burton’s Givenchy, where strong modern femininity has become the defining note. Instead of leaning into the kind of sheer look that once dominated red carpets through volume and visibility, Burton treated transparency like tailoring: precise, elegant and emotionally cooler. Comer’s gown suggested that the next chapter of the trend is not about being more naked. It is about being more exact.

The premiere itself gave the look an apt backdrop. Comer played Sister Brigid in Michael Sarnoski’s A24 film opposite Hugh Jackman as Robin Hood, with Bill Skarsgård, Murray Bartlett and Noah Jupe also in the cast. A24 lists the film’s U.S. release date as June 19, 2026, and the story follows a bruised, violent reimagining of the legend, centered on guilt, forgiveness and redemption, with an injured Robin Hood offered a chance at salvation by a mysterious woman. Comer’s gown matched that mood perfectly: not medieval costume, not red-carpet excess, but a sleek, modern kind of dusk.