Jodie Comer's "Elevated Couture" Glam: Style Team Shares Secrets Behind Her Red Carpet Looks

10:30 AM 11/21/2019

by Falen Hardge

The 'Killing Eve' star and stylist Elizabeth Saltzman channeled strong looks.

Frazer Harrison/Getty Images; JB Lacroix/WireImage; Dave J Hogan/Getty Images
  • '70s "Cool and Chill"

    The British star won the Emmy for lead actress in a drama Sept. 22 while wearing a custom design from Tom Ford, whom stylist Elizabeth Saltzman describes as "a male designer who gets a woman's body in a way that doesn't constrain but celebrates it." The full-length, long-sleeve monochromatic dress featured modern geometric cutouts and a deep V neckline. Saltzman tells THR this fashion moment was "daring without being too flashy, '70s cool and chill. It was comfortable without being messy [where] you can sit down and eat dinner. It was glamour without being done up; it was casual but extremely elegant."

     

  • A Mini for a Major Moment

    Comer sported the Priscilla Dress by The Vampire's Wife (a label founded in 2014 by actress Susie Cave, wife of rocker Nick Cave) at the March 19 Royal Television Society Programme Awards in London. "She is so fun, so sassy, and I thought, 'Let's get the legs out,' " Saltzman tells THR. The black, above-the-knee silk velvet dress featured high shoulders and tiered, ruffled gold lace on the sleeves and hem.

     

  • Sleek and Chic

    At the April 1 premiere for the second season of Killing Eve at the Hollywood ArcLight, the actress donned a stylish black bustier dress from Victoria Beckham's collection. It was Comer's first time wearing a strapless gown on a red carpet, and though it was simple in the front, the back of the dress featured a sequin overlay. She topped off the look with moon-shaped turquoise earrings by Andrea Fohrman.

     
  • Lovely in Lace

    Comer appeared ethereal in a white sheer lace embroidered gown by Zuhair Murad at the Jan. 13 Critics' Choice Awards. This was the first time she picked white for an awards show, and it's a color she continues to gravitate toward. "She looks really elegant," says Saltzman. "The dress is an elevated couture gown with structure, so you can still see there's a beautiful body underneath it."

     

  • In Striking Color

    At the May 12 British Academy Television Awards, Comer was resplendent in a vibrant magenta shift dress by Stella McCartney with a one-shoulder edge and floor-hugging sleeve. "This dress was more about the silhouette and showing off different body parts without showing anything," her stylist says.

     
  • Power Suit

    At the March 5 Stylist Magazine Awards in London, Comer sported the Electra ivory power suit by Casely-Hayford, an independent brand in London founded by Joe Casely-Hayford and now run by the late designer's son, Charlie Casely-Hayford. The two-piece suit featured wide-leg, cuffed trousers and a double-breasted blazer. "I love the fact that the trouser isn't tight. I love the fact that there's stuff on the bottom," says Saltzman. "It was one of those 'Just let the girl be comfortable so she can have fun on the night.' "

     
  • Very Villanelle

    Comer showed off an impactful, high-froufrou look that her character would love at the Jan. 6 Golden Globes — a black Ralph & Russo gown with a sheer high neckline and dramatic tulle throughout. Saltzman, then working with Comer for the first time, says the dress was "a nod to Villanelle [because] it's a little different and over-the-top." When Comer first tried it on, says Saltzman, "It was a gobsmack moment. She loved it!"

     

  • A Luxe Lady Look

    Comer hopped off a 12-hour flight from the U.K. for the Sept. 21 BAFTA Tea Party in Los Angeles, where she wore a white Sachin & Babi dress. "It's flirty, it's feminine, it's girlie. But at the same time, it's a bit tough," says Saltzman. The look was made a little tougher with a pair of cognac leather boots by Tamara Mellon. Saltzman calls them the boots of the season: "All the girls want them, and I can't get them quick enough on everybody."

    This story first appeared in a November stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.