Anne Hathaway Wears Black Iris van Herpen at Picturehouse Central
anne hathaway used the Mother Mary premiere at Picturehouse Central in London to shift her campaign into darker territory. She arrived in a black Iris van Herpen haute couture gown built from laser-cut leather, weaves, and graphic transparencies.
The look follows her first Mother Mary appearance in New York, where she wore a light, layered gown. With Erin Walsh steering two parallel fashion worlds this season, the London stop gave the film a more structured and nocturnal visual identity.
Picturehouse Central and van Herpen
Picturehouse Central is the clearest stage so far for Hathaway’s Mother Mary rollout in London. The black gown made the premiere read less like a standard arrival and more like a deliberate styling choice tied to the film’s psychological melodrama and almost supernatural overtones.
Van Herpen’s construction language fits that brief better than a conventional red carpet silhouette. Laser-cut leather and graphic transparencies push the outfit toward precision rather than softness, which suits a film built around crisis, mystery, and goth subculture.
New York to London
Her New York appearance set the first half of the campaign in a lighter register. The contrast was immediate: the earlier layered gown suggested movement and air, while the London look leaned into restraint and edge.
That split matters because Hathaway is promoting two projects at once, The Devil Wears Prada 2 and Mother Mary. The wardrobe division lets each title carry its own visual code instead of collapsing into one generic press cycle.
Erin Walsh and two campaigns
Walsh is orchestrating those two fashion narratives for Hathaway, and the London premiere shows the cleaner, darker lane. For a film in which Hathaway plays a pop star in crisis and Michaela Coel plays her former costume designer and best friend, the red carpet look reads as part of the same storytelling system.
The practical takeaway is simple for anyone tracking the rollout: London set the tone for the film’s mood, not just its publicity. If New York introduced Mother Mary with softness, Picturehouse Central pushed it toward severity, and that is the version most likely to define the film’s next public appearances.
