A movie about pop-star mythology was never going to arrive quietly. The New York screening of Mother Mary understood that assignment before anyone said a word.
Anne Hathaway and FKA twigs both leaned into the film’s dramatic orbit, but from opposite directions. Hathaway brought the gleaming, sheer, almost cloud-like glamour that has become part of her current press-run language. FKA twigs, meanwhile, went stranger and more instinctive: corsetry, texture, distressed romance, a look that seemed less styled than summoned.
Anne Hathaway’s Sheer-Couture Chapter
Hathaway has been moving through 2026 with a wardrobe that knows exactly what it is doing. The Mother Mary moment fits neatly into that run: sultry but not careless, theatrical but still controlled. She is not just promoting a film; she is building a visual bridge between pop-star fantasy and fashion-adult polish.
It also helps that she has the rare ability to make a risky dress look disciplined. That is not nothing.
FKA twigs Does Not Need a Theme
FKA twigs operates differently. Her Ashi Studio couture look had antique romance, exposed structure, and a kind of handwritten emotional quality. It did not feel like red-carpet dressing in the traditional sense. It felt like a character note.
That is why she remains so compelling on carpets. She rarely looks borrowed by the dress. The dress looks pulled into her atmosphere.
The Bigger Picture
Mother Mary is already positioned as a film where music, image, identity, and performance collide. The fashion around it is doing the same thing. Instead of standard premiere glamour, the carpet is giving us pop mythology in fabric form: sheer surfaces, exposed construction, references to bodies, personas, and spectacle.
A good red carpet sells a movie without explaining it. This one did the thing.
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Sources: Red Carpet Fashion Awards on FKA twigs; Los Angeles Today on Anne Hathaway.
