Whilst the fashion coverage of the red carpet is guaranteed throughout the course of every year, as award shows and VIP events flood press and fashion news, a focus on what women are wearing continues to be the centre of interest. However, the recent fascination with men’s styling choices has caused for a shift in focus to the young male star. Fashion theory has long made the argument - although not supported the claim - that fashion is predominantly for women, while traditional men’s clothing is favoured on the red-carpet. Timothée Chalamet continues to perform masculinity openly, in a way that questions hegemonic ideologies, particularly on the red-carpet. Secondary texts on masculinity and gender (Edwards, 2006; McCauley Bowstead, 2018) have been used to understand men's performance of masculinity, whilst theoretical texts on celebrity provide support in an understanding of the male star and their role, past and present (Dyer, 1986, 1998; Rojek, 2001; Church Gibson, 2012). Visual analysis of Chalamet's red carpet attire has been used to support the belief that there is an obvious change in attitudes towards play with clothing and gender performance on the red carpet. The conversation around the 'beautiful boy' and the new performances of masculinity of the red carpet are the beginning of credible change in this public domain. Although the mass audience may not copy the styling choices of Chalamet, his fans and secondary audiences enjoy the statements he makes; this opens opportunities for him to be accepted further into the fashion sphere while also remaining an object of desire. This paper provides the beginning of a conversation around men, masculinities, and the red carpet. Wider discussions of such topics are missing within celebrity studies. By using Timothée Chalamet as the core case study for the paper, the topic of red-carpet masculinities and, more widely, the conversation of changing masculinities within celebrity, stardom and fashion can be expanded.