Jamie Lee Curtis Goes Classic in Black Leather Pumps at ‘The Last Showgirl’ Premiere at the Toronto International Film Festival
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Jamie Lee Curtis attended the world premiere of “The Last Showgirl” during the Toronto International Film Festival yesterday in Toronto. “The Last Showgirl” is a 2024 American drama film directed by Gia Coppola and written by Kate Gersten.
Keeping it classic, the “Halloween” star sported a pair of black pumps. Paired with coordinating black fishnets, the style featured lush glossy black leather uppers, pointed toes and 2 to 3-inch stiletto heels. The style is versatile, adding a touch of sophistication to any look. Done and re-done by a myriad of brands, black leather pumps have stood the test of time, boasting longevity even against other more unique silhouettes.
Many celebrities have worn black pumps in the past, incorporating them into a slew of outfit choices both on and off the red carpet. The shoe is a must-have for many. Steve Madden, Christian Louboutin, Steve Madden, Ralph Lauren, Nine West and many more have black leather pumps comparable to Curtis’ own.
In a grungy fall-forward move, Curtis wore a reptilian black leather maxi skirt accompanied by a bright red sheer breezy button-down. Underneath the star’s top she wore a coordinating red lace bra, livening up her ensemble. Accessories were minimal and subdued in silver fixed with shiny gemstones.
Curtis’ shoe style is sharp and elegant. On the red carpet, the “Scream Queens” actress frequently wears kitten and stiletto-heeled pointed-toe pumps, mules and sandals, hailing from top brands including Christian Louboutin. Over the years, Curtis has also been spotted in strappy sandals from a range of brands, including Nine West. When off-duty, the actress can be spotted in neutral-toned thong sandals and New Balance sneakers.
Curtis is currently filming “Freaky Friday 2,” an upcoming fantasy-comedy film directed by Nisha Ganatra and written by Jordan Weiss. Little is known about the sequel to the beloved original “Freaky Friday” based on Mary Rodgers’s 1972 novel.
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