Julia Roberts is aware of methods to make tailoring really feel straightforward, particularly pared with shiny, menswear-inspired pumps.
On the BFI London Movie Pageant on the Royal Pageant Corridor on Saturday evening, she arrived for the “After the Hunt” premiere in a crisp black Bottega Veneta swimsuit and a pair of black patent lace-up pumps that pulled the entire look into focus.
Julia Roberts wears black lace-up pumps whereas attending the “After the Hunt” Headline Gala on the 69th BFI London Movie Pageant at The Royal Pageant Corridor on Saturday in London.
Mike Marsland/WireImage
Her footwear blended a pointed oxford form with the peak of a pump and the silhouette of a mule. Comprised of what seems to be black patent leather-based, the shiny mule-style pumps featured a three-eyelet lace-up entrance, slim tongue and stitched cap toe on a slim, four-inch stiletto.
It’s not the primary time this season that Roberts has leaned into the lace-up development, both. Final month in New York, she paired Jimmy Choo’s corset-laced Scarlett pumps with a shirtdress and tie whereas selling the identical movie. Catherine Zeta-Jones and Lily James have adopted comparable strains in Thom Browne and Jimmy Choo iterations, turning the structured lace-up into one in all fall’s most seen hybrids.
A better have a look at Julia Roberts’ menswear-inspired lace-up pumps.
Mike Marsland/WireImage
Roberts stored the remainder of the look pared again. Her Bottega Veneta jacket featured padded shoulders and a single entrance button. She paired the jacket with wide-leg trousers and layered De Beers items of bijou — the Snow Dance Necklace in white gold, the Arpeggia 5 Line Necklace in yellow gold and Db Basic diamond studs. The dainty necklaces added a hint of shine, a far cry from the brooch- and bauble-heavy appears she wore earlier within the week.
Directed by Luca Guadagnino, “After the Hunt” follows a Yale professor, performed by Roberts, whose profession begins to unravel after a pupil’s accusation threatens to show her previous. The movie opened Oct. 10 to robust critiques and marks one in all Roberts’ most quietly managed performances to this point.
