Anne Hathaway turned the red carpet into a runway at the London screening of Mother Mary, the psycho‑sexual thriller that hit theaters on April 17. The Oscar‑winning actress arrived in a jaw‑dropping Iris Van Herpen couture gown that combined sheer, skeletal architecture with dramatic, voluminous sleeves. While Hathaway’s career has already seen her glide through the polished world of The Devil Wears Prada and the retro charm of Annie Hall, her latest look proves she can also command the dark, avant‑garde aesthetic that the film demands.
The London Premiere and Hathaway’s Red‑Carpet Moment
On a crisp evening in London, the cast of Mother Mary gathered for a high‑profile screening that felt more like a fashion event than a typical movie night. Hathaway, who plays the titular Mother Mary, arrived in a gown that instantly became the talk of the town. The dress featured a sheer, lattice‑work bodice that exposed her upper torso while still maintaining an air of elegance, and it was paired with sweeping satin sleeves that added a regal, almost ethereal quality.
She kept her styling simple yet striking: a half‑up, half‑down hairstyle with soft waves, tiny gold hoop earrings, and a single gold ring. The minimal jewelry allowed the intricate construction of the dress to take center stage. From the back, the gown revealed a pair of delicate, wing‑like extensions that seemed to echo the film’s themes of redemption and transcendence.
Inside the Iris Van Herpen Couture Creation
Iris Van Herpen, the Dutch designer known for merging technology with haute couture, crafted a piece that perfectly matched the film’s gothic, high‑fashion vibe. The gown’s structure resembled a skeletal framework, a signature of Van Herpen’s work that blurs the line between fashion and sculpture. The sheer bodice was built from a network of fine, interlocking threads that created a three‑dimensional lattice, offering a glimpse of Hathaway’s skin without compromising the garment’s integrity.
The voluminous sleeves were made from layers of satin that cascaded down like a waterfall, providing a stark contrast to the delicate upper half. This juxtaposition of lightness and weight, transparency and opacity, mirrored the film’s narrative tension between innocence and darkness.
Key design elements of the gown include:
- Sheer lattice bodice: A delicate, architectural mesh that frames the torso.
- Voluminous satin sleeves: Full, flowing sleeves that add drama and balance the sheer top.
- Wing‑like extensions: Subtle back details that evoke an angelic or otherworldly presence.
- Minimalist accessories: Small gold hoops and a single ring to keep focus on the dress.
Van Herpen’s commitment to sustainability also played a role; the gown was constructed using recycled fabrics and low‑impact dyes, aligning with the designer’s growing emphasis on eco‑conscious couture.
From New York to London: Hathaway’s Evolving Wardrobe for ‘Mother Mary’
Hathaway’s promotional tour for Mother Mary has been a masterclass in sartorial storytelling. In New York, she debuted an iridescent, layered gown that caught the light with every movement, hinting at the film’s surreal visual language. At another event, she slipped into a sheer, embellished mesh jumpsuit that combined edginess with a hint of vulnerability—an aesthetic that perfectly complements the movie’s psycho‑sexual undertones.
These looks stand in stark contrast to the classic, tailored shoes she wore while promoting The Devil Wears Prada, where she famously swapped “Prada” heels for more understated footwear. The shift demonstrates Hathaway’s ability to transition seamlessly between different fashion realms, from the polished corporate chic of Andy Sachs to the avant‑garde, gothic glamour required for Mother Mary.
Her fashion choices have also sparked conversation about the film’s broader visual identity. The movie’s wardrobe, inspired
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