Jodie Comer continued her minimalist streak in Madrid on Thursday, tying off a series of promotional looks for “28 Years Later” with a tactile Lemaire ensemble grounded by ballet-inspired heels.
The Emmy Award winner arrived at the Rosewood Villa Magna Hotel wearing Lemaire’s Micro Ballerina 55 heels in muted cement gray. Crafted from smooth napa sheepskin, the block-heel shoes featured a square toe, an elasticized vamp and a wraparound leather ankle strap reminiscent of traditional pointe shoes. A long leather lace encircled the ankle, echoing ballet ties and adding movement to the otherwise pared-back silhouette.
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Comer paired the heels with Lemaire’s charcoal silk chiffon parachute dress, crafted with a soft, crinkled finish and tailored in a lightly structured off-the-shoulder silhouette. The dress, part of the label’s spring collection inspired by dancewear, featured gathered sleeves and ruching along the seams.
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The Madrid appearance followed a string of similarly subdued looks worn across the “28 Years Later” press tour. On Monday in New York, Comer stepped out in a Calvin Klein Collection dress that played with surface contrast through a matte and high-sheen skirt panel, styled with metallic gold stiletto sandals. Two days later in Paris, she chose a black draped dress with an asymmetric neckline and matte kitten-heel sandals, continuing a theme of monochrome tailoring and sculptural footwear.
Across these appearances, Comer has emphasized a quiet uniformity: limited embellishment, tonal color palettes and statement shoes that temper softness with structure. In Madrid, the Lemaire ballerina heels served as both grounding detail and stylistic throughline — echoing the formality of a dance slipper while reinforcing Comer’s ongoing preference for minimal, directional dressing.
“28 Years Later,” directed by Danny Boyle and co-starring Aaron Taylor-Johnson, arrives in theaters June 20. The film is the third installment in the post-apocalyptic horror franchise and picks up nearly three decades after the outbreak depicted in 2002’s “28 Days Later.”