Naomi Watts Owns the Front Row at Ralph Lauren's Fall 2025 Presentation in Knotted Platform Sandals
Naomi Watts sat front row at Ralph Lauren's fall 2025 presentation held today in New York. Beyond Watts, notable show attendees included Anne Hathaway, Michelle Williams, Julia Louis-Dreyfus, Ariana Debose, Sadie Sink, Kacey Musgraves, Andra Day and Eiza Gonzalez, among others.
The 'Mulholland Drive' actress opted for a height-boosting pair of platform sandals for the star-studded occasion, likely from Ralph Lauren. The chosen style featured lush, dark brown leather uppers accompanied by open almond-shaped toes and cage-like straps culminating in knotted detailing atop each foot. Lofty platform soles offered Watts' a boost, creating length and dimension.
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Although they weren't visible, it's likely Watts' platforms feature block heels, a pretty common accompaniment of platform sandals. Similar styles to the thespian's own can be shopped via brands like Jimmy Choo, Ferragamo, Aquazzura, Gucci, Saint Laurent, Schutz and Michael Kors.
Partnered with her knotted footwear, the 'Infinite Storm' star was styled in a neutral ensemble featuring closet staples. Watts' look included a leather, clay-colored coat worn over a crisp white button-down and a tan baggy trousers. Her outerwear featured wide lapels, button accents and structural shoulders. As for accessories, the star toted a brown leather bag featuring structural straps. Bohemian-esque jewelry was added to offer her look a whimsical, earthy vibe. The earth-toned color scheme was perfect for Watts, given neutral hues are often right up her alley.
When it comes to fashion, Watts is always dressed to impress on and off the red carpet. She has a perpetually chic and classic style. She knows how to merge super-glam designers with laidback, attainable separates.
Countering her wardrobe's high opulence are wearable pieces designed by Zimmerman, Loewe, Gianvito Rossi, Miu Miu, Magda Butrym and The Vampire's Wife. As for footwear, Watts tends to gravitate towards loafers, block-heeled sandals, sneakers and a variety of pumps.
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Launch Gallery: Celebrities Front Row at Ralph Lauren's Fall 2025 RTW Show in NYC [PHOTOS]
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If it weren't for the gallery assistant's haughty, dismissive tone, I probably would never have stolen the painting. To be clear, I'm not normally an art thief. My day jobs are as a civil rights lawyer and a law professor. Visual art is rarely my scene. So when my date invited me to see the Ai Weiwei exhibition in New York's Chelsea neighborhood this past winter, I wasn't exactly thrilled. But walking into the Vito Schnabel Gallery, I was enthralled by the artist's playful repurposing of — of all things — Lego blocks. The same plastic bricks that I'd used to make spaceships and castles on my childhood floor now hung up as high art, transformed into a neopointillistic reimagining of everything from Monet's "Water Lilies" to night-vision combat scenes. But it was the Warhol-esque quartet of self-portraits, with Ai's distinctive bearded silhouette reduced to four colors, that stunned me. They felt so human and so alien. I love that our brains are wired to find a clear face in such ambiguous masses of pixels. So I did something that you should never do in a New York art gallery: I asked the price. Art prices are the definition of irrationality. Quite literally, there's no inherent value, just what people are willing to pay. That's true to a degree for other goods, but rarely to this extreme. Stocks go up and down, but their price is often rooted in the expected performance of the company and other rational measures of future value. Currencies go up and down based on the fiscal prudence of their government's budgetary and monetary policy. But the art market is an ephemeral construction of hope and hype. A banana can be worth $6.2 million. A crude cartoon monkey can sell for $23 million one day and become virtually worthless the next. All that matters is what the buyer thinks. Maybe for buyers with billions in the bank, the gallery's prices were reasonable, rational. Maybe for those with art foundations and free-port tax schemes, this was a sound investment, especially from such a storied artist. I just didn't think the 30-by-30-inch sheet of Legos was worth 250,000 euros (maybe dollars are too pedestrian for art), no matter whose hand glued the blocks. Hearing the derision as the assistant named the price and added "plus tax," I felt like it was an "emperor has no clothes" moment. The picture was beautiful, but these were Lego bricks! I could spend the rest of my life in painting or sculpture classes and never be able to fabricate a Monet or recreate a Rodin. But Lego bricks? People say "my kid could make this" about so much modern art, dismissing the subtlety and nuance at the heart of so many works' beauty, but in the case of these toy bricks, I mean it literally. Seething from the assistant's condescension — his resentment at my gaucheness — I decided I would get even by using the one skill I've spent decades honing: the law. 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For weeks, box after box of color-coded bulk Lego pieces would show up at my Brooklyn apartment. All told, it cost less than $250 (or 220 euros, for the non-Philistines). The thing I love about Lego-art forgery is that there's no guessing, no uncertainty. After I laid a transparent baseplate on top of the printout, the whole exercise simply became painting by numbers. Still, it took time. A 2 ½-foot Lego square includes 96 pieces per side, more than 9,200 pieces overall. It took weeks of trial and error to find the right colors and parts (or as close as I could get). Then I realized, infuriatingly, that for the work to hang without falling apart, I'd need to glue each piece in place, so I had to take it all apart and start again. I thought I could quickly Google what type of glue would hold the bricks best. Instead, I found myself lost down endless rabbitholes, reading diatribes from those who consider Lego Art a sin against the reusable plastic pieces and all they stood for. 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The knockoff purse that's a crime to sell online is an indispensable teaching tool in a fashion design course. The person I was most eager to ask this question to was the artist himself, and I was shocked when Ai Weiwei was generous enough to respond. To him, "all copying and imitation are neither beneficial nor harmful; they are simply one person's response to another," he tells me over email. "If an imitation does not add new meaning — whether by challenging or advancing the original concept of the artwork — then such imitation is, in effect, no imitation at all." Authenticity isn't just at the heart of art world valuation; it's become increasingly inescapable in much of the consumer goods landscape. It's everything from the dupe Birkin bag you see on the subway to the store-brand toothpaste we buy at the pharmacy. As it becomes easier and faster to copy more and more of the physical items that build multibillion-dollar brands, how much will those brands be worth? 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At the end of the day, when asked whether it's worth paying more for the "real" version, the "original" version, more consumers are resoundingly saying no. Maybe none of you reading this piece will ever end up hanging a forged artwork on your walls, but more and more of you will likely wear clothes, carry accessories, and buy home goods that aren't exactly the real thing. And as ever more forms of copying become quicker, easier, and cheaper, the army of dupes will only grow. But whether you value those items any less than the originals, that's up to you. My final question to Ai was what he thought of this whole enterprise, the copied art and this article. Sadly, my first review as an artist was hardly stellar. "On the surface, this stunt appears to be an act of non-action," he told me. "It is simply a personal journey undertaken in search of someone truly worth imitating. For me, this work holds little meaning."
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