I know you are all going to say that I’m once again desperate to connect a look to a theme, but the second I saw the actress in this Matières Fécales Fall 2026 gown, my first thought was Elisabeth Sparkle.

This doesn’t feel like a random avant-garde experiment. The oversized bow alone feels loaded with meaning. It’s hyper-feminine to the point of distortion, like glamour inflated until it becomes surreal. That immediately recalls The Substance and the grotesque performance of beauty tied to Elisabeth Sparkle, where femininity is pushed past elegance into something uncanny, theatrical, and slightly unsettling. Demi choosing this look now, after years of sleek column gowns and refined sophistication, feels too emotionally intelligent not to be intentional.

What makes the dress fascinating is how it operates in contradiction. At first glance, it looks joyful, almost cartoonishly so: the electric-pink satin, the exaggerated proportions, and volume that bounces. There are echoes of 1980s couture excess here too, particularly Christian Lacroix and that era when fashion embraced unapologetic drama and hyper-femininity as spectacle. But then you notice the raw edges, the deliberately unfinished hem, and the slightly collapsed structure beneath the grandeur. Matières Fécales has always played with beauty that feels destabilised, and that push-and-pull is everywhere in this gown.

It almost resembles a debutante dress after emotional ruin.

There’s also something deeply camp about it, but not in the shallow “fashion camp” sense people overuse. This feels closer to John Waters camp, glamour so excessive it becomes wonderfully unhinged. Yet Demi wears it with complete sincerity, which is exactly why it works. If she approached it with irony, the entire thing would collapse instantly.

The result is divisive, dramatic, slightly chaotic, and honestly one of the most emotionally interesting fashion moments Cannes has produced in years.

Matching bow-accented pumps and Chopard jewels completed her look.

Stylist: Brad Goreski.

And what a perfect moment to make that switch than for a midnight premiere.

If your first thought was that the director looked like a blowfish in this Schiaparelli Spring 2026 Haute Couture transparent peplum jacket and skirt, the look was actually inspired by deep-sea creatures and the surreal textures of underwater life. That influence came through in the sharp spikes around the shoulders and the spotted crystal embellishment scattered across the silhouette.

I’m sure many of you had this look on your wish list for someone like Lady Gaga or Cardi B, because it feels like it was made for someone with a larger-than-life fashion personality. So it would never have been a consideration for someone like Chloé, who is usually far quieter and more understated with her red carpet choices. But as I say at least five times over the course of Cannes every year, this is the place to step out of your comfort zone.

What makes this work for me is that she fully committed to the mood. The pulled-back hair, and the confidence completely changed the energy she usually brings to the red carpet. There is no hesitation here.

I know some of you are looking at her and saying, “But why those shoes?” and I would agree. But I’m willing to overlook them for the bold shift in outfit direction.

You haven’t liked most of her recent red carpet looks. The Maison Margiela look got no love, but will this custom Louis Vuitton design win you back over?

Velvet has always carried a kind of aristocratic melancholy, but here it felt more like a gothic heroine wandering through modern myth. The core of the look was the extraordinary hand-made plissé collar exploding around her neckline like a raven in mid-flight. It transformed the gown from elegant to dramatic.

I know some will say this is a trusted silhouette for Cate, and I would agree, but the sculptural collar, recalling Elizabethan portraiture, Old Hollywood severity, and the dark romanticism of high opera all at once, is what sold the look to me.

I’m glad the neckline was kept free from jewelry here, with only the Infini ring, Whisper earcuff, and earrings from Louis Vuitton’s Mythica High Jewelry collection completing the styling.

Histoires Parallèles Photocall

Back in Gucci, Isabelle Huppert leaned, quite literally, into Riviera daytime glamour with these shimmering silver trousers and a textured high-neck top from the Fall 2026 collection that looked ready for a disco at midnight. I have really missed this from Isabelle. It reminds me of her Armani Privé run at this festival a few years ago, before the Balenciaga contract. Naturally, she also added oversized sunglasses.

Virginie Efira took the opposite route, opting for Saint Laurent tailoring styled with Bermuda shorts. I love the warm cinnamon tone, but the proportions are so off. Her choices in Saint Laurent so far at this festival haven’t been impressive.

Karma Photocall

Marion Cotillard’s Chanel Fall 2026 black double-breasted jacket worn over the pleated burgundy skirt had a school-uniform undertone. I was happy to see her soften the styling, opting for mules over those runway shoes, but overall, this was a bit underwhelming.

La Vie D’Une Femme Photocall

Mélanie Thierry looked like she had stepped out of a 1990s fashion editorial in this Dior Spring 2026 menswear look, and she was able to sell the masculine edge of it perfectly with her coiffed hairstyle and those Dior sunglasses.

Dior Spring 2026

Gentle Monster

Léa Seydoux gave us a look that continues her no-fuss style in Louis Vuitton, with the glossy black leather texture of the skirt adding a tiny edge.

Soudain Photocall

While I could make a case for Marion’s Chanel Fall 2026 look, I won’t for Tao Okamoto’s. That’s because I can see where the top part of the dress and the pleated skirt connect, and it is so unappealing. Then we have the jarring mix of colours, and let’s not forget those two-tone shoes. The only thing I would save here is the oversized beige blazer.

Quelques Mots D’Amour Photocall

Hafsia Herzi’s washed denim Dior dress with ruffled detailing was perfectly paired with pale blue bow heels.

Une Vie Manifeste Photocall

Dior were really pushing their denim for the photocalls, with Nadia Tereszkiewicz embracing the trend, adding a white blazer and tank top, because sometimes simplicity is enough.

Karma Premiere

Sharp tailoring continues to dominate the Cannes menswear conversation, and BamBam delivered one of the cleanest executions so far in Louis Vuitton’s double-breasted flared suit.

The silhouette gives the look presence, while the Fortune brooch from the Louis Vuitton High Jewelry Mythica Collection added a refined finishing touch.

Style-wise, BamBam is a bit of a fashion rebel, so there’s also something refreshing about seeing a younger generation embrace classic eveningwear with this level of precision.

Fatherland Premiere

Jacob Rott wore a look by Tokyo-based label Ryunosuke Okazaki, and there was absolutely nothing subtle about it.

The exaggerated ruffled collar, along with the sculptural layer draped across the shoulders, gave the look an almost monastic feel, like a modern interpretation of a habit. Jacob has a penchant for feathers, but his look shifted away from that, yet it still sits in his surreal lane.

Despite the drama happening up top, the clean black palette and oversized trousers kept the silhouette graphic and streamlined for the traditionally black-tie event.

Was this a risk that paid off?

Histoires Parallèles Photocall

Adam Bessa easily delivered my favourite menswear look of the photocalls this week in Celine. The olive-on-olive palette works sensationally with the tonal layering, and the hues feel so rich in this Riviera setting. The relaxed tailoring creates that distinctly French balance of studied nonchalance without looking try-hard.

This is exactly the kind of daytime Cannes dressing I love: just confidence, good proportions, and a strong understanding of mood.

Pierre Niney took a completely different route in Balenciaga, pairing a leather jacket with slim trousers that served up a different brand of coolness. Minimal, but not anonymous.

Histoires Parallèles Premiere

Adam Bessa returned for the premiere in Celine, swapping the relaxed photocall mood for a much sharper black-and-white evening look.

The white jacket against the black shirt and trousers gave the outfit a crisp contrast. Maybe this is the way forward for the white jacket. Sunglasses for an evening premiere never make sense to me, but somehow they worked within the overall attitude of the look.

Pierre Niney stayed loyal to Balenciaga for the premiere, wearing a black double-breasted suit styled with Boucheron jewelry. Without a tie, the look was oozing modern elegance.

He was alongside Natasha Andrews, who wore a Balenciaga cut-out gown that looks like it is part mummification process. This is my least favourite Balenciaga look of the year. Without question.

Club Kid Premiere

Following his much more relaxed photocall appearance earlier in the day, Diego Calva shifted gears completely in this Louis Vuitton black velvet tuxedo. The satin lapels and sharp patent shoes gave the look a quiet swagger that suited him perfectly.

The Electric Venus Premiere / Opening Ceremony

Toheeb Jimoh started his Cannes run this year in a classic Louis Vuitton tuxedo.

Lucas Bravo wore Saint Laurent, leaning fully into the house’s signature after-dark mood. The French actor always approaches the red carpet with his own point of view, which is why I’m not surprised he didn’t go traditional black tie.

Sheep In The Box Premiere

Toheeb Jimoh’s second look for his own premiere was a Hermès Fall 2026 suit.

A leather pinstripe suit for a sunny spring afternoon is undeniably a bold choice, but I admire the commitment here. The sheen of the leather made the pinstripes stand out far more than traditional wool tailoring would have, giving the look a slick finish that photographed brilliantly.

Fatherland Photocall

August Diehl wore Dior again, and while the oversized grey sweater layered over denim and relaxed shirting felt intentionally low-key, it was not careless. There was something appealingly unbothered about the whole thing.

Propeller One-Way Night Coach Premiere

John Travolta and his daughter Ella Bleu Travolta brought classic Hollywood energy, with Ella Bleu opting for understated elegance in a sleek black gown, while John added personality to his tailoring with tinted glasses, a cream beret, and his unmistakable red carpet swagger.

El See Querido (The Beloved) Premiere

Noah Schnapp kept things traditional in Karl Lagerfeld, but the real flair came from the sparkling Chaumet Magnolia brooch.

Styled With Personality

Charlotte Le Bon brought exactly the kind of individuality I want to see. The best thing she did with this Dior Fall 2026 look was make it her own. On the runway, the layered tulle skirt came paired with a dramatic ruffled top that absolutely has a place on a red carpet, but for a daytime Riviera photocall it may have tipped into something far too fussy.

Swapping in the sharp black vest was the smartest move possible because it gave the look breathing room. Suddenly, the skirt became playful instead of overwhelming, and the proportions felt lighter and more modern for her. Then came the white socks and chunky leather loafers, which pushed the look further into Charlotte’s quirky, individual style territory. It looked instinctive and refreshingly personal.

Yes, This Is Haute Couture

Kristen Stewart wore a lightweight tweed polo top and skirt from the Chanel Spring 2026 Haute Couture collection. Yes, Haute Couture. My mind is still processing this collection.

I can only assume the couture distinction comes down to the fabrication, the workmanship, or perhaps those tiny embellishments being attached one by one by hand, because at first glance this reads more like Kristen’s off-duty wardrobe than a traditional couture look.

But from the transparency to the vintage Nike Saddle sneakers, this felt completely aligned with her personal style. Kristen has never approached Cannes dressing in a conventional way, and this look continues that streak. The slightly dishevelled energy is the point. Chanel Fine Jewelry completed her look.

Quiet Luxury, Riviera Edition

Emma Mackey took the minimalist route in a white Louis Vuitton sleeveless jersey dress.

The high neckline and body-skimming silhouette gave the dress a sleek, almost athletic elegance that worked beautifully in the bright Cannes sunlight. I love how, time and time again, she places confidence in the simplicity of a look.

White Louis Vuitton sunglasses and Le Damier de Louis Vuitton Fine Jewelry earrings completed the styling. While black leather pumps would never usually be my first choice with a white dress, I don’t find them too jarring here.

Premiere

Ji Chang-wook looked especially handsome in a Tom Ford by Haider Ackermann look featuring a textured white silk astrakhan plissé Colbert jacket styled with an embroidered shirt, white satin scarf, and floral brooch. The mix of textures gave the tailoring richness, while the scarf softened mood beautifully. I’m not usually the biggest fan of white dinner jackets, but this one had so much personality and refinement that it completely won me over.

Gianna Jun stole focus in a custom Louis Vuitton cape gown which immediately called to mind Emily Blunt’s Louis Vuitton look from the Golden Globes thanks to the similar column silhouette and silver clustered brooch detailing. But where Emily’s look leaned more streamlined, Gianna’s sweeping cape construction gave this version a far grander presence. The simplicity of the ivory shade, paired with the sculptural drape, made the overall effect feel statuesque and commanding. Piaget diamonds completed her look.

Photocall

I love how relaxed and effortless Gianna Jun’s second Louis Vuitton look, styled with Louis Vuitton Legacy pumps, felt against the Riviera backdrop. There’s always something inherently chic about the softer pace of Cannes photocalls, and this look captured that mood perfectly. The extra-long tie moving softly in the sea breeze gave the look a fluid elegance, while the monochrome palette kept everything sleek and refined.

While the daytime look leaned into masculine tailoring with a slick, undone energy, this evening look took things in completely different direction.

Wearing a black Tom Ford by Haider Ackermann gown with dramatic cut-outs, an open back, and sculptural ruffled edging tracing the silhouette, Cara fully embraced the darker glamour often associated with the brand’s sexier after-hours aesthetic. The razor-sharp red lip only pushed that mood further.

I has been a great two week of fashion from Cara, and that because when she commits to this kind of dramatic fashion moment, it lands. Between the slicked-back hair, sharp beauty styling, and confident attitude, she sold the look exactly as intended.

And perhaps that contrast between masculine tailoring by day and provocative evening glamour by night was the point all along.

Stylist: Jason Bolden.

The French actress was naturally dressed in Louis Vuitton, wearing a custom off-the-shoulder black satin plissé gown.

Two things can be true here. This gown is undeniably elegant and carries an unmistakable Old Hollywood glamour, yet it also feels like it was designed with someone older in mind.

But when you place it within the context of Léa’s understated personal style, the choice starts to make much more sense. There is usually a quiet sophistication to the way she dresses, and this look continues that narrative.

All that being said, Léa still looked incredibly regal in this gown. The sculptural neckline, dramatic sleeves, and rich satin texture gave the look real presence on the red carpet, while the red lip and softly waved bob brought a classic screen siren feel.

Her Pure V necklace, Infini ring, and earrings, all in white gold and diamonds from the Louis Vuitton High Jewelry collections, completed the look beautifully.

Stylist: Alexandra Imgruth.

Soft Sparkle, Classic Cannes

Li Bingbing looked as elegant as ever in an Armani Privé Spring 2025 gown. But I’m not convince by the diamond necklace.  With the heavily embellished neckline, I don’t feel like that the Chaumet necklace was needed. Had the stones complemented each other more seamlessly, perhaps I would have been more on board with the styling choice.

Cut-Out Couture Fantasy

Araya Hargate also opted for a heavily detailed Haute Couture gown from the Elie Saab Spring 2026 collection. Between the crystal latticework, dramatic plunge neckline, and jeweled headpiece, this was full-on couture fantasy from every angle. With Araya, these highly embellished looks never wear her. She commits fully every single time.

His-and-Hers Tailoring

Barbara Palvin and Dylan Sprouse coordinated in Karl Lagerfeld, leaning into a clean black-and-white approach. Barbara’s crisp white shirt paired with the long black skirt gave the look a relaxed elegance, while Dylan kept things classic in black tailoring finished with a brooch detail.

Black Bows, Soft Drama

Camille Cottin wore Dior Haute Couture styled with Tiffany & Co. jewels, opting for a pale satin gown. The colour palette and draping gave the look a soft Old Hollywood mood, while the oversized black bows stopped it from fading into the background. This was understated in the best possible way. I thought Jonathan Anderson’s Dior might be a struggle for her classic style, so I’m glad to have been proven wrong.

Velvet Redux

Laetitia Casta wore the same black velvet Armani Privé gown previously seen on Selena Gomez at last year’s Academy Museum Gala. Unfortunately, this outing felt a little flat for me on account of the styling. Even the Messika jewels couldn’t really elevate the look.

Schiaparelli’s Signature Detail

Monia Chokri wore black velvet Schiaparelli featuring the house’s signature gold keyhole hardware at the neckline. The silhouette was sleek and uncomplicated, allowing that sculptural detail to become the focal point. Unfortunately, the Cartier jewelry didn’t really complement the dress.

Floral Glamour In Full Bloom

As expected, Olga Kurylenko brought full red carpet glamour in an Elie Saab Pre-Fall 2026 red floral embroidered gown. But I do wish we hadn’t been able to see that shorter layer beneath the sheer skirt. Tasaki jewels completed her look.

A Train Too Far

Rebecca Armstrong wore a custom Sophie Couture gown featuring a black sequined column silhouette with oversized side draping. My immediate thought was that the look would have worked far better without the dramatic train detail. The column part already had enough impact on its own, but the added volume made the overall styling feel unnecessarily busy, especially given Rebecca’s petite frame.

Ice-Blue Cannes Glamour

Romee Strijd wore an icy-blue Anastasia Zadorina gown styled with Chopard jewelry. The off-the-shoulder draping, thigh-high slit, and soft chiffon train delivered classic Cannes glamour from every angle. Sometimes simplicity really is the strongest route on this red carpet, even if it feels like you’ve seen variations of this look many times before.

You may remember that I was a little underwhelmed by her awards season run, as many of the looks started to blur together, aside from the Harris Reed look she wore to the Vanity Fair Oscar Party, which remains my favourite look from her this year.

So I was genuinely surprised to see her step onto the Cannes red carpet wearing a Dior Spring 2026 look from the menswear collection.

Jonathan Anderson designed both his womenswear and menswear to feel interchangeable, and we have already seen women like Greta Lee and Rihanna embrace the menswear pieces, but I still was not expecting to see this collection translated onto the Cannes red carpet in this way.

And you know what? It works.

Odessa is definitely that girl who can wear a grey oversized suit to a premiere and make it feel entirely authentic to her style. The slouched proportions, oversized jacket, striped shirt left casually undone, and wrap sunglasses gave the look a cool nonchalance that stood apart from the sea of predictable gowns.

Yes, Cannes is synonymous with glamour and sweeping dresses, but some of those looks are starting to feel a little repetitive – which you may be surprised to hear me say. So when someone steps outside the expected, especially with this much conviction and authenticity, you certainly will not hear me complaining.

Dressed in Pierpaolo Piccioli’s Balenciaga Pre-Fall 2026, it seems the unofficial memo for the French actresses of the night was leather, because Isabelle joined Marion Cotillard in embracing a darker, tougher kind of glamour on this red carpet.

While last night’s Gucci gown felt like a refreshing change of pace, this look taps back into the space where Isabelle has sat for some time. Not necessarily in terms of the silhouette itself, but in the attitude. There is that same sharp elegance she gravitates towards time and time again, where glamour comes with a slightly severe edge rather than softness or romance.

The broad shoulders, cocoon sleeves, and sculpted finish create a silhouette that feels commanding, while the emerald-and-diamond Chopard jewels were exactly the right choice, adding a flash of colour and refinement against all that black leather without distracting from the mood of the look.

Stylist: Jonathan Huguet.

The British actress and L’Oréal ambassador wore a vintage Alexander McQueen Fall 2005 strapless red taffeta gown.

There is something unapologetically grand about this dress. The rich crimson taffeta instantly commands attention, but it is the mermaid-style pleated skirt that really gives the gown its character, and a sense of old-school red carpet drama that suits the Cannes setting perfectly.

My only frustration comes from the fit through the bodice. There are visible pulls across the fabric that distract slightly from what is otherwise such a strong fashion moment. A few alterations could have refined the finish considerably, especially with a fabric as notoriously unforgiving as taffeta.

Still, the mood of this look completely won me over. It feels theatrical, confident, and entirely in tune with Simone’s growing love for fashion history and archival dressing.

For those experiencing déjà vu, Gisele Bündchen previously wore this gown to the 2011 Met Gala.

Stylist: Rebecca Corbin-Murray.

The French actress always gives us something to talk about at this event, and her Chanel leather dress with a raffia-trimmed underskirt from the Resort 2027 collection is no exception.

Marion has always approached Cannes differently. While many actresses lean into classic glamour or predictable princess dressing, she tends to veer left, often too far left, which is exactly why she remains one of the more interesting regulars on this red carpet. So a black leather Chanel dress for a major premiere? Honestly, this feels entirely on brand for her.

My only hesitation comes from the fit. The dress appears slightly oversized on her, particularly through the bodice, although I suspect part of that comes down to the leather itself still feeling fresh off the runway. It has that newly cut stiffness that has not yet relaxed or moulded to the body, which leaves parts of the top half looking a little boxier than intended.

But somehow, Marion still sells it. On someone else, this could have looked cumbersome, but she gives it the kind of insouciance that French actresses seem genetically programmed to deliver at Cannes.

Chanel High Jewelry from the Coromandel collection completed her look.

Berlin Premiere

The actor kicked things off in custom Chanel, wearing a look that subtly nodded to Grogu through the soft green palette and textured tweed jacket. The outfit had a geek-chic charm that Pedro wears so well. It felt playful without screaming “character dressing,” which is exactly why it worked.

Berlin Press Conference

And for the press conference, he kept the Chanel jacket, and honestly, why wouldn’t you? It is one of those pieces that instantly elevates even the most casual styling choices. This time, he paired it with faded charcoal jeans and a simple neutral tee, giving the look a much more off-duty energy.

Paris Premiere

He wore Chanel once again, with the red bomber jacket and jeans continuing his laidback direction, while the striped tie added a small but effective formal touch.

London Premiere

The next Chanel look of the press tour continued the layering story that has quietly become the defining thread running through all of Pedro’s appearances. The navy tailoring paired with the grey knit and pale yellow V-neck created an academic, slightly thrown-together charm that suits him perfectly.

Jessica McCormack Medallions Long Guard Lapis & Diamond necklace completed his look.

New York Press Junket

As good as these Chanel looks have been in terms of tailoring and Disney-friendly dressing, I was most excited about this Givenchy Fall 2026 look by Sarah Burton on account of the black patent drop-sleeve jacket, because it tapped back into that pre-Chanel Pedro who was always willing to take bigger risks on the red carpet. And considering this is a Star Wars film, the high-shine finish and exaggerated shape gave the jacket a futuristic edge that felt entirely appropriate for the occasion. It had attitude and just the right amount of menace.

Givenchy Gent loafers completed his look.

LA Premiere

I will always favour a look that is lighter on top and darker on the bottom. Still, I liked the overall vibe of this Chanel look, especially the richness of the fabrics.

Seeing all these looks together, I am starting to accept that the edgier, more playful side of Pedro’s style might now be a thing of the past. That shift was already beginning during The Fantastic Four: First Steps press tour, and these appearances seem to confirm it further. The risk-taking has softened in favour of more classic styling, cleaner tailoring, and safer choices overall. Whether that is the influence of Chanel or simply a natural evolution of his style, I do find myself missing some of the unpredictability he once brought to the red carpet.

Stylist: Jamie Mizrahi.

Riley Keough is at the Cannes Film Festival to promote her new film Butterfly Jam, but last night she attended the Histoires Parallèles event, and this afternoon stepped out for the Soudain screening.

Speaking of last night, many of you really did not like her Chanel Haute Couture look, so I am wondering if this custom Alaïa corseted bustier dress with a dramatic, voluminous asymmetrical skirt will serve as the redemption arc.

For me, this clears the first look with ease. There is a sculptural quality to the way the fabric folds and lifts around the hips that feels distinctly Alaïa.

The gold metal belt was a smart detail. Without it, the look may have read bottom-heavy, but that slim metallic accent added a sharp, modern flourish.

I also love the return of those Alaïa patent leather thong sandals first seen on Hannah Einbinder. They continue to be one of the more divisive shoe trends on the red carpet, but they work here because they keep the styling clean and unfussy against such a dramatic silhouette.

Stylist: Jamie Mizrahi.

Pinstripe Mood

Following her breathtaking gown at the Met Gala, Cara Delevingne was back in tailoring wearing Tom Ford by Haider Ackermann. The actress was dressed in a blue-and-white corded chalkstripe suit from the Fall 2026 collection, styled with a sheer black shirt and black karung-effect embossed leather pumps. The mix of sharp tailoring and transparency elevated it beyond boardroom level.

The Most Laidback Man In Town

Following his standout arrival look, Diego Calva continued his laidback approach in Isabel Marant Spring 2026. Compared to his more sharply tailored co-stars, the actor’s washed charcoal set immediately stood apart. The loose silhouette, soft construction, and utility-inspired details gave the look an easy off-duty energy that feels completely in line with Diego’s personal style.

While photocalls often lean heavily into formal dressing at Cannes, this worked because it never looked like he was trying too hard. The slightly rumpled finish and relaxed attitude gave the outfit personality, making it feel natural rather than overly styled for the cameras.

Styled by Ilaria Urbinati.

Burgundy Tones

Jordan Firstman opted for Prada.

What makes this look work is how all the shades sit within the same colour family, creating contrast without anything feeling disconnected. The purple-tinted sunglasses added an extra playful touch that felt perfectly in sync with the Club Kid vibe.

Dressed in Chanel once again, the German actress and official Chanel ambassador wore a checked blouse and voluminous skirt in shades of yellow, burgundy, white, and black from the Pre-Fall 2026 collection.

Between the rich mix of colours, the contrast in scale between the checks, and the dramatic fullness of the skirt, I instantly fell in love with this look.

Some might say it is giving Julie Andrews standing on top of a mountain singing “The Hills Are Alive,” but honestly, that reference only makes me love it more. There is something charmingly old-world about the silhouette, like a reworked take on classic countryside dressing filtered through Matthieu Blazy’s modern lens.

The look also benefits from Sandra’s understated presence. Both the proportions and print combination might have translated as overwhelming on someone else.

Chanel earrings and black Chanel slingback pumps completed the look.

Hopefully, we get to see much more from this press tour.

Stylist: Jordan Johnson Chung.

Baby Blue Reveal

Barbara Palvin used the Cannes red carpet to announce that she is expecting her first child, stepping out in a pale blue Miu Miu plissé gown trimmed with soft feather detailing. Between the powder-blue colour and the romantic styling, some may already be taking this as a clue that a baby boy is on the way. The lightness of the gown worked beautifully for the occasion, giving her a soft, floaty silhouette that was perfect for a Spring festival.

Styled with Chopard jewellery, she walked the carpet alongside her husband Dylan Sprouse, making for one of the festival’s sweetest couple moments so far.

Unexpected Detour

A bomber jacket was not something I expected to see on the Cannes red carpet, but Catherine Deneuve made the idea feel entirely chic in Saint Laurent. The deep emerald satin finish brought richness to the relaxed silhouette, while the black column skirt kept the look sharp and streamlined. The velvet Saint Laurent Le Anne-Marie bag finishing the look with her usual understated elegance.

Flared Perfection

The Schneider brothers at Cannes has become one of the things I look forward to every year because they consistently give us effortless elegance. Vassili Schneider continued that streak in a Saint Laurent flared suit, delivering exactly the kind of relaxed sharpness that works so well on the Cannes red carpet. The proportions, soft pinstripes, and open neckline kept the look youthful without losing the refinement expected at the festival.

Still Chasing That Dior High

I say this every year, but Virginie Efira’s 2021 Dior Cannes moment still lives rent-free in my head because I do not feel like she has matched it since. Unfortunately, this gold metallic Saint Laurent dress did not change that for me. Brown Saint Laurent Melody sandals completed her look. Cannes usually calls for something with more impact or glamour, and this never quite got there for me.

Classic Black Tie

Narah Baptista brought sleek simplicity in Schiaparelli, pairing her sculpted black gown with Akillis jewellery for a clean and refined finish. Alongside her, Vincent Cassel kept things classic in Prada with an Audemars Piguet timepiece. They complemented each other perfectly.

The event unfolded as a theatrical procession moved from Apple The Grove to AMC The Grove 14, where Gaga appeared alongside around 40 performers in a staged living portrait framed by cascading florals and veiled backdrops. Frequent Gaga collaborators Ian McKenzie, Victor Rojas, and China Taylor took part in the performance, with choreography by Chris Downey-Asher and SaraAnne Fahey, while an eight-piece brass band played sombre New Orleans-inspired jazz interpretations of tracks from MAYHEM.

Billed as the final MAYHEM procession, the visual direction leaned into Victorian mourning dress and undertaker tailoring, with custom cloaks, exaggerated hats, and sharply theatrical silhouettes transforming The Grove into an extension of Gaga’s MAYHEM Requiem world.

At the centre of it all was Gaga herself, wearing a Givenchy Haute Couture Fall-Winter 1997 look designed by Alexander McQueen. The red-and-black silk satin gown, trimmed with black lace and topped with a matching bolero featuring tasselled epaulettes and flared sleeves, felt entirely in sync with the gothic melodrama that has shaped this MAYHEM era.

For longtime Gaga fans, this kind of fashion reference point makes perfect sense. McQueen’s theatricality, dark romanticism, and fascination with performance have always aligned with Gaga’s visual language, so pulling from this period of Givenchy felt less like costume and more like a continuation of the world she has been building around this project. The palette alone mirrored the mood of the music, balancing seduction, mourning, glamour, and menace all at once.

There was also something fitting about Gaga choosing an archival McQueen look for an event built around live performance and spectacle. The silhouette still feels dramatic nearly three decades later, particularly with the sculpted shoulders, jet embellishment, lace overlays, and fan accessory amplifying every movement during the procession. Rather than relying on a new custom look, the archival choice added history and weight to the performance, connecting fashion past and present in a way that only Gaga can really sell.

When Matthieu Blazy took over at Chanel, I did think Riley would be one of the biggest beneficiaries of that move, mostly because I was hoping it might spark a return to the bolder red carpet energy she once had during her Gucci era.

Instead, this Chanel Spring 2026 Haute Couture taupe sheer jacket, top, and skirt embroidered with charms, pearls, drops, and bird motifs continues the same understated direction she has been favouring for some time now. At this point, it feels safe to say that this quieter elegance is a genuine preference rather than something dictated by brand alignment.

Do I think this is a bad look? No. In fact, there is something quite refreshing about how restrained it is within the context of Cannes, especially when this was not her own premiere and she had no need to compete for attention. The soft transparency, delicate embellishment, and muted palette all work in harmony with her naturally low-key presence.

That said, I still find myself wanting more from this partnership with Blazy’s Chanel. His work has texture, eccentricity, and emotional richness, and I would love to see Riley lean further into the sharper, stranger, or more directional side of his vision rather than staying so firmly within this safe aesthetic space.

Chanel’s signature two-tone pumps and Chanel High Jewelry completed her look.

Stylist: Jamie Mizrahi.

There are not many constants left in fashion, except Jennifer Connelly wearing Louis Vuitton. The other used to be Isabelle Huppert in Balenciaga, but that changed tonight, as the French actress stepped out in Gucci.

And the Jennifer Connelly comparison feels especially fitting here, because much like Jennifer followed Nicolas Ghesquière from Balenciaga to Louis Vuitton, Isabelle has now followed Demna from Balenciaga to Gucci.

Even with the same creative director, this felt like a reset. A new silhouette, a new fabric story, and honestly, it was time. The sculptural fan-pleated neckline instantly brought a sense of golden-age glamour, with the symmetry, scale, and framing around the face making the look feel instantly more cinematic.

Styled with matching opera gloves and Chopard jewels, this felt theatrical in the best possible way.

This is the Isabelle Huppert I love seeing on the red carpet. Less grunge, more glamour.

Stylist: Jonathan Huguet.

Tailored Detour

Ruth Negga has shelved the gowns for the time being in favour of this custom AMI Paris look designed by Alexandre Mattiussi, and I have to say this was an incredibly successful pivot. To give us sleek menswear-inspired attitude that felt refreshingly different amid the sea of dramatic gowns. What really makes this work, however, is Ruth herself. She wears tailoring with the kind of ease we would expect from her. Chopard jewels completed her look.

Corseted Glamour

Aja Naomi King wore a Tamara Ralph Spring 2026 Couture pink silk chiffon gown draped around a pink asymmetric mother-of-pearl corset. Between the sculpted bodice, fluid draping, and soft train, this has to be one of my favourite looks from her at Cannes. The styling also deserves credit with Pasquale Bruni jewels completed her look.

Minimalist Mood

Chloé Zhao continued her love affair with Gabriela Hearst, this time wearing a hooded suede dress from the Spring 2026 collection. This feels entirely in line with her understated approach to red carpet dressing. The warm ochre tone and pared-back silhouette ensured that she stood apart from the sea of embellishments and volume surrounding her.

Tulle Redemption

I wasn’t crazy about either Miu Miu look we saw on the red carpet last night, but this pale yellow tulle creation accented with delicate shimmering detailing was a far stronger outing for Sara Sampaio. The soft structure through the bodice and the frothy layers gave the gown a romantic finish which I’m sure some will say is too sugary.

Sharp Tailoring

I would have given my left arm to see this Tom Ford by Haider Ackermann Fall 2026 look on Tilda Swinton, but Polish model Małgosia Bela is totally selling this micro-beaded tailored ensemble. The elongated proportions, razor-sharp shoulders, and shimmer running through the fabric made this one of the sleekest looks of the night. It has that clean precision Ackermann does so well.

Biker Jacket, Cannes Attitude

Suzi de Givenchy delivered one of the more intriguing looks of the night in ArdAzAei from the label’s The Folded Sea Couture Collection, and I have to say, this really worked for me. The leather jacket could have easily read as too casual, and I’m sure some of you will wish she had worn the sculptural runway jacket instead, but I actually prefer this interpretation. The fluidity of the pleated skirt softened the sharpness of the leather beautifully, while the movement through the sheer skirt gave the look a real sense of drama on the red carpet. There is something refreshing about seeing couture presented with this much edge at Cannes. It feels elegant, but with a bit of attitude.

Sharp Tailoring, Soft Drama

Nadia Tereszkiewicz delivered Jonathan Anderson’s fresh take on the Dior Bar suit, complete with his signature bow detail. While this silhouette hasn’t worked in other iterations we’ve seen on the red carpet, Nadia’s version stayed true to that unmistakable couture precision we associate with the house.

Black Tie, Slightly Undone

Lyna Khoudri also opted for a Dior Bar suit, but unfortunately, nothing quite fits. Not the jacket, which is bunching at the waist, nor the trousers, which pooled too heavily at the hem. I would really love to see this look again on someone taller, or at least tailored properly, because there is potential here.

Her first gown split opinions right down the middle, from cellophane comparisons to ethereal praise, so I’m intrigued to hear your thoughts on this red number designed by Demna.

While this crinkled fabric has never been a favourite of mine, I do see the benefit here. The striking shade of red has enough surface texture to stop the look disappearing into the carpet.

If you’re anything like me, your first thought was sculptural neckline delivers the kind of dramatic silhouette that instantly reads as Demna, and probably that this feels closely connected to his Haute Couture work during his Balenciaga era. The sharp structure through the neckline carry that same theatrical energy.

Thankfully, Demi tucked her hair into the dress to keep the focus firmly on the neckline, while also proving that she could absolutely pull off a shoulder-length hairstyle.

Chopard jewels completed her look.

Stylist: Brad Goreski.

For the occasion, she wore a Givenchy Fall 2026 look by Sarah Burton that instantly made me think of Galadriel from The Lord of the Rings, especially with the sweeping forest-green ceremonial-style cape and braided updo.

Burton’s romantic sensibility balanced the fantasy-coded feel with enough elegance to keep the look firmly within Cannes territory rather than drifting into costume territory.

The playful nature of the dress contrasted beautifully against the grandeur of the cape, giving this look the kind of theatrical styling moment that works so well at Cannes.

I genuinely would have cried actual tears if Diane had committed fully to the runway styling with those matching floral boots, because they would have pushed this look over the edge. The matching Givenchy Boudoir Bow sandals added their own charm and kept the look lighter and more red carpet friendly.

This year, she is back on the Croisette promoting her new film Fatherland alongside her Dior-clad co-star August Diehl, who is giving strong Robert Pattinson’s older brother energy here.

Back in 2023, Sandra spent all of Cannes in Louis Vuitton, but this time she’s, wearing a custom Chanel Haute Couture look inspired by Look 33 from the Spring 2026 Haute Couture collection.

The black embellished column dress is almost entirely overshadowed by the dramatic feathered jacket embroidered with white feathers dipped in black at the tips. Most people will probably find it completely excessive, but honestly, I much prefer this interpretation over the fully hooded runway version. The runway styling felt like performance art. Sandra’s version feels wearable while still retaining all the eccentricity.

What makes this work is Sandra herself. She has the kind of presence that allows unusual pieces like this to land with conviction, much in the same way Cate Blanchett can carry something others simply couldn’t.

My only issue is with the two white ribbon-like strips trailing from the bow at the back. They are slightly distracting, as though they were added at the last minute without serving any real purpose within the look.

Stylist: Jordan Johnson Chung.

Heritage In Haute Couture

When I saw Alia Bhatt, my immediate thought was: why save this for an event on the sidelines of Cannes? This custom Tarun Tahiliani creation is stronger than anything she has worn on the Palais des Festivals red carpet so far.

There was a time when international stars regularly embraced looks that nodded directly to their heritage before the pull of global luxury branding shifted things in another direction. While some may instantly read the silhouette as Vivienne Westwood-inspired, this design was actually rooted in the reinterpretation of Indian chintz textiles through a contemporary couture lens. The deep burgundy and muted ivory palette, Victorian-inflected corsetry, and fluid sari-inspired draping came together in a sculpted silhouette that felt rich in detail.

Her Sunita Shekhawat jewels, alongside brooches from Amrapali Jewels and Anmol, completed the look beautifully. More of this, please.

We Are In A T-Shirt Ballgown Era

So everyone is doing the t-shirt ballgown thing now, and it’s fascinating that Cannes delivered two versions of the idea in one day. Demi Moore’s AMI Paris black-and-white gown had much stronger proportions than Hannah Einbinder’s earlier attempt, largely because the fitted black top flowed more naturally into the voluminous ivory skirt. I still think the hem could have been slightly shorter to sharpen the overall line, but this was one of the cleaner executions of the trend we have seen so far. Chopard jewels completed her look.

Texture At The Hem

Philippine Leroy-Beaulieu wore an Egonlab strapless feathered gown, although the full impact of the texture was only really revealed towards the hemline. For Philippine the look and the silhouette read relatively minimal, with Pomellato jewellery injecting some evening dazzle.

Return Of The Mack

Between Jennifer Lopez and Heidi Klum, Julien Macdonald is slowly coming back into the fashion conversation. he British designer used to dominate this red carpet throughout the 2000s and 2010s, and Heidi’s feathered one-shoulder embellished caftan tapped directly into that era of unapologetic glamour she has always been drawn to.

Reliable Glamour

Jane Fonda wore Pamella Roland with Pomellato jewellery, continuing her run of classic red carpet glamour. The silhouette was elegant, the styling refined, and at this stage she knows exactly what works for her on these carpets.

He arrived in a look that sits firmly within Ferragamo’s modern register of softened masculinity and material richness, giving us a refined take on in-transit luxury.

Dressed in Ferragamo Pre-Fall 2026, the outfit leans into what Maximilian Davis has been refining for the house: a tactile, tonal language where texture does the talking. The camel mélange wool-mohair knit contrasts cleanly against the slick precision of the espresso leather trousers.

There’s a subtle 1970s undertone here, both in colour and attitude, recalling the relaxed glamour of European cinema icons arriving on the Riviera.

The accessories extend the same code. The structured oversized Ferragamo Hug tote was the perfect travel bag, while the Tramezza oxfords anchor the look in classic Italian craftsmanship.

Aviators finish it off with that familiar air of anonymity.

I love how this builds a single chromatic spectrum – camel into espresso into deep brown – creating a cohesive, quietly luxurious mood.

I’m so in love with this, I’m adding it to my BDOTY potential list.

Stylist: Ilaria Urbinati.

L’Âge D’Or Photocall

Souheila wore an Egonlab Fall 2026 look which, technically speaking, comes from the menswear collection, but that distinction feels increasingly irrelevant here. The feathered halter top leans into softer feminine codes, while the exaggerated wide-leg trousers tap into the oversized tailoring trend that has dominated fashion over the last few years.

What makes this look work so well is the balance. The feather detailing could have easily tipped into something overly theatrical for a photocall, but the relaxed proportions of the trousers and the casual attitude keep it feeling modern and unfussy. There’s also something about this look that feels perfectly suited to Cannes during the daytime. It has that slightly eccentric Riviera energy without looking forced for the setting.

The sunglasses, windswept hair, and hands-in-pockets attitude only reinforced the effortless

L’Abandon Screening

Souheila leaned further into her fashion disruptor tendencies wearing a look built around tailoring.

Nothing about this feels safe, which is precisely why it feels so aligned with her style. While many actresses and models arrive at Cannes aiming for classic glamour, Souheila consistently approaches dressing from a more subversive angle. The school-uniform references gave the look a slightly rebellious edge, while the exaggerated overskirt brought in a sense of drama suited to the red carpet.

I would have been fully on board with this look had the black skirt extended beyond the shirt tail, as I find the proportions distracting, but that sense of disruption is entirely purposeful.

Headmistress Chic

Hayley Atwell wore an Erdem Pre-Fall 2026 suit which felt decidedly formal for the occasion, but I’m fully on board with the strict tailoring and high-collared styling. Some might say she looks like a formidable 1940s boarding-school headmistress, and honestly, I see it. Between the elongated jacket, cropped wide-leg trousers, and pinstripe detailing, the look carries a stern elegance that feels refreshingly different from the usual premiere fare. I’m also a sucker for exceptional tailoring, so this landed well for me.

Styled by Jenny Kennedy.

Pink With A Problem

Nafessa Williams went in the complete opposite direction, wearing Khaled & Marwan and giving us a corseted pink gown complete with another version of those draped sarong-style skirts. The colour works well on her, but I’m still not sold overall.

The Return Of Nensi Dojaka

Bella Maclean’s Nensi Dojaka Evie petal dress from the Spring 2025 collection hardly needs an introduction, as the petal bust detailing and cut-outs became one of the designer’s signatures almost overnight. There was a period when these dresses appeared so frequently on the red carpet that fatigue quickly set in, but enough time has passed for this look to feel fresh again, especially with the longer skirt. Bvlgari jewels completed her look.

Styled by Marc Forne.

Bridal Meets Boho

Catriona Chandler wore a Halfpenny London corset paired with sheer side-slit Aladdin-style trousers. The corset element feels bridal-adjacent, while the trousers push the look into more theatrical territory. I can appreciate the attempt to do something less expected, but some might not be entirely convinced that the two ideas belong in the same outfit.

Styled by Grace Radhakrishnan.

Eggplant Elegance

We’ve had rain and hailstones over the last two days in London, so you won’t hear me complaining about David Tennant reaching for velvet. The weather practically demanded it. Beyond seasonality, this look is excellent. The deep eggplant hue gives the double-breasted suit richness, the fit is razor sharp, and the velvet texture elevates the entire look. Then there’s the brooch with the amethyst stones, adding David’s usual twist.

Styled by Cheryl Konteh.

Tucci Stays Tucci

Stanley Tucci stayed firmly within his comfort zone in a grey three-piece suit accented with a pink tie and matching pocket square. Predictable? Perhaps. But the man knows exactly what works for him, and there’s something reassuring about that consistency.

Relaxed Tailoring

Alex Hassell approached the premiere with a much more relaxed attitude thanks to the black tank top. The proportions are good, and the looseness stops the look from feeling too formal.

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