Dark-Glamour Bridal Looks Dominate The Bride Premiere Red Carpet in London

Matthieu Blazy’s Old Hollywood shimmer at Chanel and Schiaparelli’s theatrical cutouts provided the evening’s framework, while Maison Margiela supplied a raw, sheer corsetry that read like couture on the verge of narrative. The leading ladies, as Women’s Wear Daily observed, “forewent their Gothic styling and opted for dark glamour on the red carpet of the film’s London premiere on Thursday night.”

The Bride! held its world premiere at Cineworld Leicester Square in Leicester Square, London on February 26, 2026, with cast and guests assembling on the white carpet for photographs and press. Harper’s Bazaar framed the night as Gothic romance resurrected for the red carpet, a visual echo of the film’s reimagining of Mary Shelley and the 1935 Bride of Frankenstein.

Maggie Gyllenhaal, who wrote and directed the film, arrived in a black Schiaparelli gown that WWD described with particularity: the dress featured a bevy of fabric ruching, short sleeves and the French house’s idiosyncratic keyhole cutout at the bodice, and the filmmaker “added a pop of color with her emerald green jewelry.” Harper’s Bazaar and Yahoo photo captions additionally attribute her jewels to Bulgari, a discrepancy in reporting that nonetheless reinforced the emerald accents photographed on the premiere carpet.

Jessie Buckley, the film’s titular Bride and fresh off a BAFTA win for Best Actress in Hamnet, chose Maison Margiela couture that Evoke described as a “daring sheer corset gown” which “showcased her bold sense of style.” Evoke noted she “channel[ed] her on-screen character with a look that was both edgy and elegant” as she posed on the white carpet; photo captions credit Mike Marsland/WireImage and Gareth Cattermole/Getty Images for those images.

Penélope Cruz interpreted Matthieu Blazy’s Chanel with an Old Hollywood attitude: WWD wrote that Cruz, an ambassador of roughly eight years for Chanel, wore a sleeveless gown with a plunging neckline, streamlined silhouette and allover shimmering elements, completed by a feathery red shawl for texture and a pop of color. Evoke’s coverage characterized the same appearance as a “glamorous black sequinned gown with dramatic red feathered sleeves,” two complementary takes on a look that read both classic and cinematic.

Other attendees reinforced the evening’s thread of dark glamour and bridal adjacency. Julianne Hough wore Petar Petrov, Peter Sarsgaard arrived in Dolce & Gabbana, Jeanne Cadieu appeared in Schiaparelli and Munroe Bergdorf wore Erica Myat; Christian Bale and Jake Gyllenhaal also attended the world premiere, with Getty and WireImage photographers documenting the line-up (Gareth Cattermole/Getty Images, Jeff Spicer/Getty Images for Warner Bros. Pictures, Karwai Tang/WireImage and John Phillips/Getty Images among the credits).

Across photographs and press lines the night traced a clear shorthand: designers from Maison Margiela to Schiaparelli and Chanel homed in on a Gothic aura that translated into wearable red-carpet drama. White gowns reworked with unexpected accessories and sheer corsetry punctuated the evening, leaving the premiere as an exercise in dark-glamour bridal codes that mirrored the film’s blend of romance and horror.