Anne Hathaway’s Pink Aquazzura Heels Are the Unexpected Star of Her Maternity Red Carpet Look

Anne Hathaway’s Ice-Blue Cape Moment Is a Maternity Style Masterclass

There are red carpets, and then there are moments of pure sartorial theater — and Anne Hathaway delivered the latter on Sunday night. Anne Hathaway red carpet look stuns everyone. Arriving at Warner Bros Studios for the premiere of The End of Oak Street, the actress didn’t just attend an event; she staged an entrance. Cradling her baby bump beneath a sculptural Prabal Gurung halter top, Hathaway proved once again that expecting doesn’t mean editing down the drama.

The piece, pulled from Atelier Prabal Gurung and styled by Erin Walsh, was a masterclass in architectural restraint up front and unapologetic spectacle in back. Sleeveless, with a clean mock turtleneck, the top’s front hem curved inward in a gentle inverted arch — a design choice that read less like a concession to pregnancy dressing and more like a deliberate frame, drawing the eye to her silhouette rather than disguising it.

Then came the reveal. What began as a composed, minimalist top unfurled at the back into a floor-sweeping train of ice-blue silk Mikado, cut to catch air and movement with every step. The real coup, though, was hidden in the lining: a flash of crimson-red silk peeking through as the open cape shifted, turning a simple walk down the carpet into a moving color-block composition. It’s the kind of detail that separates a good gown from a great one — you have to watch it in motion to understand it.

Hathaway grounded the high drama with a dose of off-duty ease, pairing the sculptural top with relaxed medium-wash denim. Sitting low beneath the belly and falling into a loose, wide-leg silhouette, the jeans were the outfit’s exhale — proof that even a couture-caliber moment can borrow from the closet staples most people actually live in. It’s a pairing that has quietly become a signature move for the Devil Wears Prada 2 star: elevate one half of the look sky-high, let the other stay grounded.

Footwear picked up where the cape’s lining left off. Aquazzura’s pink satin heels, finished with pointed red toes, echoed the crimson flash of the top’s interior — a quiet, precise bit of styling math that tied the whole look together without shouting about it. Bvlgari jewelry did the rest of the talking: a coiled Serpenti bracelet, drop earrings, and diamond-and-ruby pieces that picked up the red thread running through the ensemble, all in gold warm enough to flatter without competing.

Beauty, appropriately, took its cues from old Hollywood. Hathaway’s hair was swept into a sleek, high ponytail with a brushed-back crown — a style built specifically to showcase that dramatic neckline rather than fight it. Her makeup leaned into soft bronze tones, defined lashes, and sculpted brows, all in service of a luminous, lit-from-within complexion. And then, the finishing note: a bold, matte red lip, a direct nod to the crimson accents woven through the outfit, delivering the kind of glamour that feels simultaneously vintage and utterly current.

Anne Hathaway was in good company. Ewan McGregor, Maisy Stella, and Christian Convery joined her on the carpet, alongside the film’s writer-director, David Robert Mitchell. But it was Hathaway’s ice-blue-and-crimson moment that will linger in the memory of the night — a reminder that maternity dressing, at its best, isn’t about restraint. It’s about knowing exactly which rules to bend.