Jodie Comer brings dark glamour to Givenchy at Robin Hood premiere

Jodie Comer walked into the New York premiere of The Death of Robin Hood wearing sheer black lace Givenchy, and the effect was immediate: not quiet luxury exactly, but quiet luxury after dark. The dress had the discipline of old-money dressing, yet the transparency and black-on-black drama gave it a far more romantic edge, the kind that feels inherited rather than invented.

That balance is what makes the look feel like a Sarah Burton statement, not just a red-carpet flourish. Burton took over Givenchy in September 2024 and showed her first collection in March 2025, a debut that reached back to Hubert de Givenchy patterns from 1952 while leaning into tailoring, black-and-white contrasts, and modern femininity. Comer’s dress fits neatly into that language. It is ornate, but controlled. It is sheer, but not soft. It suggests that Burton is widening the house’s version of polish to include a darker, more theatrical strain of elegance.

The premiere itself matched the mood. Comer attended at AMC Lincoln Square 13 on June 10 alongside Hugh Jackman, Bill Skarsgård, Murray Bartlett, Noah Jupe and director Michael Sarnoski, all fronting a film that reworks the Robin Hood legend with a bruised, adult sensibility. A24’s official synopsis casts Robin Hood as a battle-worn outlaw reckoning with a life of crime and murder, gravely injured after what he thought was his final battle and offered a chance at salvation by a mysterious woman. The film is set for U.S. release on June 19, 2026.

That context matters because Comer’s look did not read as costume, even with the film’s medieval-shadowed premise. It read as culture shift. Old-money fashion has spent years in the language of oatmeal cashmere, polished loafers and the kind of restraint that signals wealth by never raising its voice. Comer, in Burton’s black lace, points to a new branch of the code: inherited taste can handle embellishment if the silhouette stays disciplined, the fabrication is precise and the styling resists excess.

In that sense, the dress was less a departure from old-money dressing than an update to it. The black drama, the sheer lace and the meticulous cut all worked together to suggest something more rarefied than minimalism: aristocratic glamour with a pulse.