At this year’s Cannes Film Festival, fashion stepped out of the wings and into the spotlight — not just dressing stars but actively shaping the films themselves. Chanel, for instance, didn’t just clothe Zoey Deutch in a white peplum gown for the carpet premiere of Nouvelle Vague (directed by Richard Linklater); the house also helped finance the film. It’s just one example of a growing movement: luxury brands aren’t content with merely appearing on-screen — they’re becoming producers, funders, and storytellers.
Chanel is also backing upcoming films like the animated Arco and The Chronology of Water, the directorial debut of long-time ambassador Kristen Stewart. The brand has been quietly expanding its support of cinema for years, including its partnership with Tribeca Film Festival’s Through Her Lens, a mentorship and funding programme for women filmmakers.
But Chanel is not alone. Ami Paris co-produced the film Enzo and sponsored Critics’ Week, a parallel Cannes event. Fondazione Prada recently announced a dedicated film fund aimed at financing and developing auteur cinema. For Miuccia Prada, “Cinema is a laboratory for new ideas and a space of cultural education.”
The Fashion–Film Fusion Reaches New Heights
Fashion’s affair with cinema is nothing new. During Hollywood’s golden age, designers often doubled as costume creators. More recently, brands have sponsored film festivals and artist programmes. But something has shifted: fashion is now actively investing in storytelling, seeing the power of film to carry messages and aesthetics further than any runway or billboard.
At Cannes 2023, Saint Laurent set the tone by producing three films. Though absent in 2024, the brand is reportedly developing more projects. Meanwhile, Jonathan Anderson, creative director of Loewe, has proven how deeply a fashion voice can shape a narrative. After designing all costumes for Challengers, Anderson was tapped for Queer — a collaboration with director Luca Guadagnino, who’s been a pivotal figure in bringing fashion into film storytelling.
More Than Just a Look: Storytelling That Sticks
“Film has more longevity than a post or a campaign,” says Heidi Bivens, costume designer for Euphoria and Spring Breakers. She argues that the pandemic accelerated this shift. With photoshoots paused and magazines on hold, fashion’s main stage became the screen. “It filled the cultural void and showed just how enduring cinematic storytelling can be for brand visibility.”
Film offers something social media cannot: context and emotion. As Sasha Mills from the creative agency Pacer puts it: “You won’t remember yesterday’s Instagram post — but a great film will stay with you for years.”
The resonance of this approach is clear. Loewe’s Challengers merch — like the $330 “I Told Ya” T-shirt — sold out instantly. Even when brands don’t commercialize tie-ins, visibility alone boosts organic demand for their collections.
Behind the Scenes of the Next Big Wave
Some emerging designers are also entering the cinematic space — even if it’s financially challenging. Cynthia Merhej, founder of Renaissance Renaissance, had long wanted her pieces to break out of editorial pages. Through her publicist, she was brought on to design costumes for Bonjour Tristesse, directed by Durga Chew-Bose and starring Chloë Sevigny.
Thanks to her in-house atelier in Beirut, Merhej was able to deliver couture-quality work without massive external costs. Still, she cautions: “Most young designers can’t afford to be part of films unless the production has a big enough budget.”
Heidi Bivens believes smaller, independent films — with budgets under $10 million — are the ideal partners for fashion brands to engage with meaningfully. “These are the projects where collaboration can be creative and authentic,” she says, advocating for early-stage involvement — from script reads to wardrobe design.
But authenticity is key. “Fashion brands can’t hijack the story,” Bivens warns. Costume choices must serve characters and plot — not become advertisements. She recalls times producers suggested dressing characters in brands that were simply wrong for the role, just because an actor was an ambassador.
Jonathan Anderson’s approach in Challengers is held up as an ideal: while he dressed the entire cast, the wardrobe was diverse, contextual, and aligned with narrative arcs. Even Chanel espadrilles made it in — worn not because of a brand deal, but because they made sense for the character.
Fashion as Producer — and Storyteller
Fashion’s role isn’t limited to the screen. Behind-the-scenes content, red carpet activations, and social media storytelling add powerful layers to brand messaging. For instance, Prada’s work on Elvis, in collaboration with costume designer Catherine Martin, was documented in detail across the brand’s online channels. Loewe amplified the Challengers and Queer premieres via TikTok, generating millions of views with smart, story-led posts.
Now, some fashion labels are even co-producing original screenplays. Merhej’s next step? Co-producing a short film inspired by her own Renaissance Renaissance collection. “It’s going full circle,” she says.
As fashion grows into a full-fledged cinematic universe, the runway may soon feel like just one act in a much larger performance.
