With age comes experience and a great many trips to the airport. Celebrity airport outfits are historically all over the place, but something I've found to remain consistent over my 12 years as a Who What Wear editor is that women in their 40s and above stick to functional outfits and shoes that are also chic and polished—just like themselves. One very chic and polished woman in her 40s, Emily Blunt, just proved exactly that.

Blunt has been busy promoting her soon-to-be blockbuster film Disclosure Day around the world and was recently spotted at JFK amid her promotional tour. Her outfit was nothing short of perfection for a long flight, and the first thing I noticed was that she opted for the timeless sneaker style I often see experienced travelers wear—classic white sneakers—instead of, say, ballet flats, which every celebrity is wearing in 2026. Blunt paired the crisp leather sneakers with black joggers and a black sweater blazer over a lace-trimmed tank. The comfortable black knit layers were ideal for a long day of travel, and the white sneakers added a summery touch. Plus, as you know, white sneakers are incredibly versatile, so you're likely to wear them on repeat occasions during your trip.

Scroll on to see Blunt's white-sneaker airport outfit for yourself and shop the travel-friendly look.

On Emily Blunt at JFK

On Emily Blunt: Axel Arigato Clean 90 Sneakers ($300)

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Shop More Chic White Sneakers

In the world of sneakers, you've got power players like Nike, Adidas, and Vans in the $70-to-$125 range, while luxury brands like Prada, Dior, and Gucci are on the high end of the spectrum with prices starting at around $750. These are all solid options, but if you happen to be looking for something in the middle, you've come to the right place. That's where Swedish shoe brand Axel Arigato comes in.

Yesterday, Emily Blunt was photographed wearing Axel Arigato Dice T-Toe Sneakers ($255) while doing press for the highly anticipated Devil Wears Prada sequel. It's safe to say she's one of the most in-demand celebrities to dress right now given all the excitement around her Emily Charlton role reprisal. For that reason, I have a feeling she'll make these sneakers sell out extremely quickly. Plus, the price point is appealing to shoppers who want to buy designer pieces in that aforementioned midrange. Scroll down to see her outfit and shop her sneakers.

On Emily Blunt: Dior sunglasses; Axel Arigato Dice T-Toe Sneakers ($255); Donna Karan Satin Oversized Tote ($498)

Shop Emily Blunt's Exact Sneakers and Bag

Shop More Sneakers by Axel Arigato

I know you know the original Devil Wears Prada's costumes like the back of your hand. The Chanel boots, the newsboy hats, the lumpy blue sweater (which Meryl Streep just re-created, by the way), the Prada coat. The wardrobe was just as memorable as Miranda's one-liners. What you might not remember, however, was what the cast wore during the original press tour back in 2006.

The OG cast showed up to red carpets, screenings, and photocalls to promote the film wearing the biggest fashion trends of the early 2000s, including babydoll dresses, peep-toe platforms, and low-rise bootcut jeans. If you can believe it, Anne Hathaway and Emily Blunt were both only 23 years old when the movie debuted in theaters. My teenage self definitely thought they were older than that! Scroll down to revisit what Hathaway, Blunt, Streep, Stanley Tucci, and Adrian Grenier wore on the 2006 press tour for The Devil Wears Prada. See you in theaters on May 1 for the sequel.

WHO: Meryl Streep and Anne Hathaway

WHAT: Attending the Deauville Film Festival in September 2006

WHO: Anne Hathaway and Adrian Grenier

WHAT: Attending the Los Angeles premiere in June 2006

WEAR: Prada dress (Hathaway)

WHO: Anne Hathaway

WHAT: Attending Hollywood Life's Breakthrough of the Year Awards in December 2006

WHO: Emily Blunt and Anne Hathaway

WHAT: Attending Hollywood Life's Breakthrough of the Year Awards in December 2006

WHO: Stanley Tucci, Meryl Streep, Anne Hathaway, and director David Frankel

WHAT: Attending the Venice Film Festival in September 2006

WHO: Anne Hathaway

WHAT: Attending a screening in New York City in May 2006

WHO: Meryl Streep, Stanley Tucci, and Anne Hathaway

WHAT: Attending the Venice Film Festival in September 2006

WHO: Meryl Streep, Stanley Tucci, and Anne Hathaway

WHAT: Attending the Venice Film Festival in September 2006

When it comes to fall fashion, black tights are as essential as a pumpkin spice latte. They're reliable, chic, and go with absolutely everything. But if you're looking to turn heads and gather compliments faster than you can say "apple picking," Emily Blunt just showed us the secret weapon: colored tights. And not just any color, but a bold, unapologetic red.

For the London premiere of her film The Smashing Machine, Blunt redefined what hosiery can do for an outfit. Instead of opting for the expected sheer or opaque black, she donned a vibrant pair of crimson, polka-dotted Calzedonia tights. She paired them with a dramatic David Koma dress and heels, and the effect was simply mesmerizing.

The red tights didn't just complement her look; they made the look. They added a jolt of unexpected color, a playful yet sophisticated twist that elevated her entire red carpet ensemble from polished to utterly unforgettable. This niche trend is perfect for anyone looking to inject some personality into their fall wardrobe. While black tights fade into the background, colored tights demand attention in the best possible way.

Keep scrolling to shop Emily Blunt's red Calzedonia tights, plus several similar styles to try this season.

On Emily Blunt: David Koma dress; Calzedonia tights; Anya Magnificent earrings

Shop Emily Blunt's Exact Calzedonia Tights

Shop More Red Tights for Fall

Emily Blunt has had an exceptionally busy week. First, she stunned in Alexander McQueen at the Golden Globes on Sunday and then wowed in Miu Miu at the Governors Awards just three days later. After that, she jetted to New York City for an appearance on The Late Show, where she wore a stunning backless jumpsuit that deserves to be seen from every angle. 

If you're anything like me, you tend to reach for a fail-safe LBD for dressy occasions. But thanks to Emily Blunt, I'm inspired to trade in my favorite dress for a sultry backless jumpsuit. Scroll down to see her newest outfit and shop the trend for yourself. 

On Emily Blunt: Christian Louboutin shoes

Shop Our Favorite Backless Jumpsuits

This story was written during the 2023 WGA and SAG-AFTRA strikes. Without the immense work of the writers and actors currently on strike, there would be no film to discuss. 

Greta Gerwig's Barbie and Christopher Nolan's Oppenheimer have been the pinnacle of current media conversation. Both films took up my weekend plans, and the question I'm still getting is which one of the "double feature" I chose first. Even Cillian Murphy said in an interview with IGN, "You can spend the whole day in the cinema—what's better than that?" While Barbie has been making the rounds among fashion enthusiasts (all those Chanel looks!), I think Oppenheimer makes a case for a deeper look at menswear. Although I did make the decision to watch Barbie first, it was Murphy's portrayal and image of physicist Robert Oppenheimer that occupied my mind, even days later. On the actor's smaller frame, I couldn't help but notice the volume and fit of the clothing that felt on theme with today's trends. The jacket looks slightly oversize, the hat seems to be big, and the pants appear to be at a higher waist. The film's costume designer, Ellen Mirojnick, is quick to point out that this is how these items fit in proportion to his frame, rather than the actual design intention.

On the internet, the Oppenheimer aesthetic has been equated to an all-black or gothic look, but after watching the film, the story the costumes actually tell is quite different. The focus is deeper than just a color palette. It's more about the silhouette of a very complex man who is about to change the world and unknowingly face consequences for it. To understand Oppenheimer's distinct look, there is one particular scene that evokes a powerful image. In Los Alamos, he puts on his hat and picks up his pipe. The camera focuses on each movement, and his silhouette is vivid. "It's as if that man is about to become mythic. He's 100% empowered, and he is the fullness of Robert Oppenheimer as he builds his town and becomes a man that changes the world," explains Mirojnick of the scene.

Below, I spoke with Mirojnick about the process and challenges of creating the looks for such a visceral storyline. You'll hear from her about how a suit is never just a suit, how Oppenheimer's style rarely changed, and the conversations she had with Nolan during the process. Scroll down to read my full interview.

You've been in the industry for quite some time, working on both period and contemporary pieces. What is your design process for creating costumes for a period piece like this, if different from contemporary at all?

The creative process is never different. You can't separate it. I would never know how to approach something and say, "I'm going to have a new process today." Creative inspiration starts at a very base level, no matter if you're doing costumes or painting or writing. The process part of it is very intimate, and the details lie in the translation of the text and the complexity of the story you have to tell, so there's no difference between creating contemporary costumes and period costumes.

I also don't consider this film a period piece. I consider it more of a timepiece because the film is from a first-person point of view, and when you have that, you have to look at the film a little bit differently. The immersive quality in this film is like sliding doors. It moves from one time [of someone's life] to another time to another time and so on. I don't consider it a period film in respect of other kinds of period pieces that I've done in the past. 

Are there any challenges in doing costume design for a historical figure compared to a fictional character?

The challenge [for both] is always to work with the actor and make sure everything is what the actor needs. It doesn't matter if it takes place now or in 1920. There are a lot of things to consider, like who the actor is, what the silhouette is, which fabrication we're using, and what is my objective that's needed to be accomplished. In the case of Oppenheimer, I clearly wanted to accomplish a very mythic and iconic man. He had a very specific silhouette and style that defined him.

What were your early conversations with Christopher Nolan like when discussing the wardrobe for the film?

One of the things that were very important to Chris was the perspective the story follows, so subsequently, the only person he wanted wearing a hat was Oppenheimer. There were no other hats in the film with the exception of Albert Einstein, and that is because of the first-person point of view. There is a merging of time and decades [throughout the film], so he was hoping that we'd find a way to be truthful but also be a bit abstract.

Most importantly, we spoke of Oppenheimer's silhouette. We noticed first that his style never changed throughout each time period, which was surprising.

How involved was Cillian Murphy in creating the look for Oppenheimer?

Cillian was an amazing actor to work with. You can't have an actor become a character without a lot of involvement. It just doesn't work. He's very involved. His body is involved—Cillian Murphy has to become Robert Oppenheimer.

Despite Murphy having a smaller frame in this film, his outfits give him this powerful presence that can't be denied. How did you go about creating that expression in his looks?

We paid close attention to working together and making sure the pants fit a particular way—that they were full but not excessive to the point of clownish and sit perfectly at the waist—and that the jacket is a bit bigger but enough for his thin frame to carry it all. And that hat. You can't think of Robert Oppenheimer without the hat. It's one and the same. In doing this, it is not a question of copying as much really working together to determine the proportion.

[In the scene] when he's looking out the window in Los Alamos and picks up the hat and pipe, it's as if that man is about to become mythic. He's 100% empowered, and he is the fullness of Robert Oppenheimer as he builds his town and becomes a man that changes the world. As Chris has said, with all his pure intentions, little did he know at that time there will be consequences to all of it, which is what we wanted to present during that period of time. It's quite a bold image that'll remain in our heads.

This is not a man who never actually knew what his presence was. He was always very well aware of his presence. Once he starts in Berkeley in the '30s, he is 100% on it. He is empowered. He wears things in a way. We chose only to wear blue shirts and tones of blue and gray in the suiting in urban environments. When he gets to New Mexico, he wears two entirely different colors with more of a work fabric and whipcord suiting that is very sympathetic to the land. The only time he wears the lighter of the two colors [in New Mexico] is when he's in the desert for the Trinity test. I think that one bleeds into the other, and it's somewhat like painting a portrait of this man and creating his character. 

Suiting was an obvious focus in this film, and suits can have a misconstrued reputation for "looking the same." Do you typically enjoy creating costumes surrounding suiting, and how do you draw attention to the details?

I've used suiting throughout my entire career. A suit is never just a suit to me. Anybody who thinks it is is just silly. It is the clothing that one wears that becomes a part of their identity. It's about the cut of a suit—what fabrics you choose, what colors you choose, what the shape is, and how you define a man's body or a woman's body for that matter. The shape of the trousers [and] jacket, the size of the lapel, and the hand-tailored details are all part of what goes into thinking about suiting and thinking about the man or the woman who will be wearing it.

It's a very beautiful type of clothing or costume that really sculpts the body, and I think it's a wonderful way in which you approach how a person will feel in the piece and how that person is going to walk and present himself.

There are so many subliminal ways in which you interpret clothing and how we use clothing to identify the character and the person that is inhabiting that piece. Once you point it out to figure it out, they never forget it. It's our responsibility to help people understand who they're interacting with, on-screen and off.

The majority of the characters in this film are men, but Florence Pugh and Emily Blunt play defining characters in Oppenheimer's life. What was your process like creating costumes for them? 

The same approach is taken with Emily and Florence as it was with Cillian and the rest of the men. With Emily, it was really important that we present her in a very alluring but sophisticated way. As she progresses through time, her ambitions for herself are transferred to Oppenheimer. There are things she's not very happy with, and it was very important that we create costumes that never appear to be costume-like and that they are pieces and elements that are never seen in a way that they are perfect little outfits. She has a little bit more of a Western approach. She has a non-self-conscious way about her. We put pieces together that indicated she came from a well-bred life. She later moved into being a homemaker that wasn't very happy. It was in that [phase] where we needed to show a progression.

With Florence, there was not very much research and imagery we could find on Jean Tatlock. We knew which scene she had to play, and we tried to have a little bit of a sexier approach to her so that she could have that ability to move in more sensuous fabrics in the scenes she's in, [whether] it's knitwear or velvet. The costumes were cut in a way that would emphasize her body and her body movements. Emily (Kitty) possessed his ambition, and Florence (Jean) was his passion.

How much of the clothes were sourced from vintage and prop houses vs. designed for the film?

I would say it was half and half. All of the principal characters were made—designed and created. I don't use brands. All of Cillian's and Robert's clothes were made. The rest of the clothes were sourced from costume houses, vintage, and wherever we could find them. 

Everyone is talking about the ensemble that this cast is, especially the group of scientists working on the Manhattan Project. How was working with and styling such a large group of people that presented one image?

Because it's all based on real people, there was a lot of research that we went into on each and every character. As each actor walked into the room, their costumes spoke to them, to be honest. [We would make the choices] of the colors and fabrications, and then we'd look at the elements of each character to find little specific things. But there is one very specific photograph taken at Berkeley of all the scientists at the time that, if you saw all of these scientists together with Oppenheimer, they all look as if they're one. We were after that.

When each actor walks in, you then paint the picture as you're working with them—what type of collar one person [has] vs. another, if there is a pin in the collar, the type of tie will that character wear and the color of it, and if there is a sweater-vest or a three-piece suit. [We question] if he ever gets more casual or if he wears a suit jacket or a sports jacket in Los Alamos. All of those things come into play and go into creating each different character and what that actor feels comfortable with and what seems right for them.

Right now, it feels like the fixation on Barbie in the beauty world is inescapable. Brands are releasing Barbie collabs left and right, all-pink everything is taking over, and you can't go anywhere without hearing someone say "Barbiecore." While we're as infatuated with Margot Robbie's Barbie looks as anyone, something else has caught our attention: Emily Blunt's Oppenheimer looks. 

Both movies are set to release tomorrow (fans have coined the double feature Barbenheimer), and in anticipation, we're drooling over Blunt's impossibly effortless-looking press tour looks. Who What Wear got the exclusive on Blunt's Oppenheimer looks, which celebrity makeup artist Jenn Streicher created using all Violette_FR products. 

"The whole styling of the press tour was a nod to the Oppenheimer period, the 40s," says Streicher. "We really were kind of playing off of that."

Streicher explains that Blunt tends to be pretty minimal with her hair and makeup, and the press tour played into that minimalism while still having some fun. Violette_FR was the perfect brand for Streicher to partner with for these looks—the Parisian makeup products, created by French makeup artist Violette, captures French elegance in each of its formulas. The products are simple but maintain the playful spirit you might expect from a brand with self-expression at its heart. Keep reading for the products that Streicher used on Blunt (plus some behind-the-scenes images exclusive to Who What Wear). 

Next, Carrie Bradshaw's Apartment Is Full of the Candles Every Beauty Editor Hoards

In the realm of celebrity beauty, I'm always intrigued by what stars put (or don't put) on their brows. Having good brows is practically a requirement for being famous. While celebrities have access to the highest-caliber experts to pluck, thread, and microblade their brows, the products they use to enhance them are also of the utmost importance. 

The latest brow products sweeping Hollywood? Ilia's new launches. Despite only just launching, the In Full Micro-Tip Brow Pencil and In Frame Brow Gel are already making waves. Before their official launches, they were even used on Emily Blunt, Miranda Kerr, Diane Von Furstenberg, and Talita Von Fürstenberg at the Met Gala. 

In true Ilia fashion, these brow products help you get the vibe of your brows. The In Full Micro-Brow Pencil has a microtip to help you create the most realistic-looking hair-like strokes. It comes in six shades and glides on easily but doesn't smudge, so you get the best of both worlds. The In Frame Brow Gel is a flake-free formula that conditions brows while it adds flexible hold. There's no doubt that these brow products will keep gaining momentum. 

Other Ilia products our editors love:

Next, This French Staple Is Hailey Bieber's All-Time Favorite Perfume

British women have historically had an impeccable flair for taste and style going back as far as the Tudor era and those drool-worthy Elizabethean necklines all the way to the present-day icons like Kate Moss and Naomi Campbell, whose staying power has lasted for the last several decades. British fashion's uniqueness comes from the Brits' eye for textiles and embellishment combined with an affinity for color tossed in with a touch of irreverence. They know how to put together an outfit that somehow works from the early hours of a day to the wee hours of the night without having to get changed in between. They are masters of versatile, über-stylish dressing, you might say. With that in mind, we turned to some of our favorite British celebrities to pick up a new styling trick or two we can test-drive this spring.

From the easiest way to elevate a floral spring dress to the number one night-out staple every woman should own to the layering piece that makes every outfit cooler, scroll down for inspiring looks from the likes of Alexa Chung, Kate Moss, and beyond.

More Is More (and That's a Good Thing)

You've probably read plenty of tips about "taming" or "toning down" a statement piece with neutral accessories, and while that works for some, Alexa Chung proves that sometimes you just need to wear all of your favorite bold pieces at once. As proven time and time again by this style savant, it works.

Always Add a Ruffled Neckline

A patterned suit is good fun and all, but Emily Blunt shows us that a ruffled neckline is a worthy addition. 

Never Underestimate a Tuxedo Blazer

When in doubt, follow Kate Moss's lead and always have a polished tuxedo blazer within arm's reach for a night out.

After-Hours Denim

Naomi Campbell's striped blouse and wide-leg denim look should be everyone's next dinner look.

Day-to-Night Dress

If you're wearing a pretty spring dress during the day and need to transition it to after-hours, simply do like Rachel Weisz and accessorize with sheer tights and platform heels.

Bare Your Midriff

A little bare midriff feels fun and fresh for spring. Try out Thandie Newton's approach and wear a printed top with slouchy slacks.

Wear All Neutrals

An all-neutral look is the new monochrome choice du jour, according to Rosie Huntington-Whiteley. We're on board.

Outerwear Is Part of the Look

Because Brits are used to inclement weather, outerwear is never an afterthought. Sienna Miller shows how a coat cinched by a cute belt can be fully incorporated into a look.

Want more European style? See our latest fashion dispatch from Paris.

I can hardly believe it, but The Devil Wears Prada was released 13 years ago in 2006. A film that came out when I was still contemplating what I wanted to do with my career, it allowed me to dream of one day working in the fashion world and what that might be like. What did a day as a fashion editor really look like, and what were the people in those roles actually wearing? While The Devil Wears Prada may offer a Hollywood version of what it’s actually like in real life, the outfits Emily Blunt wears don’t seem that far-fetched to me.

In fact, after watching the film countless times, I took away some key fashion lessons from her character that still impact me to this day. Ahead, I’m breaking down each of them and shining a light on exactly why her character’s fashion still resonates today. Go on for the four major fashion lessons I learned from Emily Blunt in The Devil Wears Prada, and shop pieces I imagine she would be wearing today.

1. Confidence is key.

The thing that always strikes me about this outfit is the confidence she exudes wearing it. Is it a look dripping with trends? Yes. And does she pull it off? Absolutely. She does because she feels so confident in her own skin and the fashion choices she's making. A great lesson for us all.

2. Suiting is the trend that will always be in style.

Suiting is one of the top trends of the season. The Devil Wears Prada was filmed over a decade ago in 2006, but you would never know it looking at this outfit. Suiting with great tailoring is always a win.

3. You can never go wrong with black.

No matter how many trends come and go, there is one thing that just always works: black. Whether for a fancy gala or the airport, a black outfit is always a stylish choice.

4. The classics are foolproof.

While Emily isn't afraid to test out the more daring fashion trends, she also reaches for classic prints and silhouettes that look endlessly chic. Noted to add plenty more to our wardrobes, Emily.

Next, see the 13 fashion brands I wear on repeat.

If there’s one celebrity couple we’ll never get sick of seeing together (whether on-screen or off), it’s Emily Blunt and John Krasinski. Their style, mutual adoration, and combined star power never fail to captivate us, and their appearance at last night’s 71st annual Writers Guild Awards in New York City was no exception.

Donning matching tuxedos, with Blunt in Dolce & Gabbana and Krasinski in Salvatore Ferragamo, the two even managed to take the cheesiness out of a coordinated red carpet look—a rare feat, if you ask me. In fact, their spot-on outfits have even inspired me to consider re-creating the look next time I hit the wedding circuit with my husband, which will undoubtedly be soon. To see the awe-inspiring moment for yourself, plus to shop tuxedo jackets in case you're also thinking of stealing their style, just keep scrolling. 

WHO: Emily Blunt and John Krasinski.

WEAR: On Blunt: Dolce & Gabbana tuxedo, Jimmy Choo heels; On Krasinski: Salvatore Ferragamo suit. 

Shop tuxedo jackets:

Up next? These 8 NYC brands should be on every fashion girl's radar.

Hollywood came out in full force at the 25th annual Screen Actors Guild Awards. Not only did the stars serve up some serious red carpet style, but they also shared some cute snaps from behind the scenes and inside the venue. Below are a few of the cutest on-screen and IRL couples we spotted throughout the evening. Stay tuned for more from the after-parties.

Ryan Michelle Bathe and Sterling K. Brown 

Jason Ralph and Rachel Brosnahan

Keri Russell and Matthew Rhys

Yara Shahidi and Keri Shahidi

Alison Brie and Dave Franco

Harry Shum Jr. and Shelby Rabara

Taylor Simone Ledward and Chadwick Boseman 

Amatus Sami-Karim and Mahershala Ali 

Darren Criss and Mia Swier

Ken Jeong and Tran Jeong 

Michael Douglas and Catherine Zeta-Jones 

And one more, just because we're obsessed with Grace and Frankie:

Love a Hollywood romance just as much as we do? Don't miss these: 

11 Times Celeb Couples Wore Matching Outfits

How Stylish Hollywood Couples Pose for Photos

Our 18 Favorite Movie Couples of All Time

We're still patiently waiting for Mary Poppins Returns to arrive in theaters—that will come on December 19—but the cast just gave us a stellar fashion moment to help tide us over. The movie's stars all attended the Los Angeles premiere red carpet this week, and the outfits were nothing short of amazing.

Poppins herself, Emily Blunt, stole the show at the premiere in the dreamiest princess-worthy dress we've seen in a while. Her Yanina Couture creation featured beautiful statement sleeves that took the frothy dress to the next level. Is anyone else getting bridal vibes from the stunning white dress? Another one of the film's stars, Emily Mortimer, also went for a wedding-worthy look, in an embellished white gown, while Bellamy Young opted for a sharp pantsuit of the same hue. Scroll down to see all of the best red carpet looks from the Mary Poppins Returns premiere.

WHO: Emily Blunt

WEAR: Yanina Couture dress 

WHO: Emily Mortimer

WHO: Lin-Manuel Miranda and Vanessa Nadal

WHO: Karen Gillan

WEAR: Michael Kors Collection top and skirt

WHO: Jordana Brewster

WHO: Loni Love

WHO: Bellamy Young

Next up: the six trends Kate Middleton never wears anymore. 

It's been 12 years since The Devil Wears Prada was first released, but our obsession hasn't waned one bit. Of course, the cast has accomplished many an impressive project since 2006—including Emily Blunt's upcoming Mary Poppins redux—but can you blame us for forever associating them with their characters?

Blunt, for instance, just did a 73 Questions video in honor of her new Vogue cover, walking through the magazine's office like a true Emily. Right after the six-minute mark, Blunt strolls into Vogue's shoe closet, giving us an inside peek at the hallowed spot where Anna Wintour may or may not reenact certain Devil Wears Prada scenes on a daily basis. (Hello, cerulean sweater.) With rows upon rows of designer shoes, the real-life Vogue shoe closet is even better than the movie's version. Scroll down to watch the video for an inside look.

Shop Office-Ready Shoes

Like clockwork, Ugg boots reappear every year when the weather starts to get chilly. But just because the shoes are synonymous with super-casual style doesn't mean you can't make them look cute and stylish for winter—just consider Emily Blunt as proof. The actress stepped out in New York City wearing Ugg's Classic Mini II Genuine Shearling Lined Boots ($140), and her outfit is worth copying right now.

Blunt teamed the cozy boots with skinny jeans and a coat in the ultimate winter pattern: plaid. While Ugg boots are sometimes controversial—everyone seems to have an opinion on whether they should be worn outside the house—her plaid coat and cute beanie are timeless pieces for this time of year.

Scroll down to see how Emily Blunt styles Ugg boots and shop a pair for yourself.

Get the Look 

Next up, see the perfect ankle boots Margot Robbie wore with skinny jeans to the airport.