logo
Dixie D'Amelio Embraces Sheer Trend in Georges Hobeika Gown at Cannes Film Festival 2025 Party

Dixie D'Amelio Embraces Sheer Trend in Georges Hobeika Gown at Cannes Film Festival 2025 Party

Yahoo7 hours ago

Dixie D'Amelio is the latest celebrity to embrace the sheer trend during the Cannes Film Festival. The social media star was seen at Le Majestic Hotel on Tuesday in Cannes for a special event by APM Monaco amid the ongoing film festival.
D'Amelio opted for a sleeveless sheer floor-length dress by Georges Hobeika featuring nude fabric and embellished with floral elements on the bodice and skirt. The dress included a formfitting silhouette and a high neckline for added drama.
More from WWD
Elsa Hosk Revives Mugler's Mesh Knit Gown Worn by Claudia Schiffer in 1995 at the 2025 Cannes Film Festival
Ciara Pairs Sequins With Chocolate Brown Sandals for Cannes Film Festival Premiere 2025
Scarlett Johansson Pops in Hot White Prada Pumps at 2025 Cannes Film Festival
Embroidered throughout the bodice and top half of D'Amelio's skirt, green botanical-inspired flowers and stems, some evocative of '60s aesthetic, adorned the influencer's dress. The sheer skirt flowed to the floor. D'Amelio completed her look with sandal heels by Gianvito Rossi.
As for her jewelry, D'Amelio went relatively minimalist save for a pair of earrings. The influencer regularly collaborates with stylist Siena Montesano Gones, who also curated D'Amelio's Global Gift Gala look from Monday's event.
For the occasion, D'Amelio wore a custom Balenciaga dress in a berry tone with APM Monaco jewelry. D'Amelio's hair was styled by Marty Harper for Monday's event, while her makeup look was curated by artist Valeria Ferreira.
With Tuesday's look, D'Amelio joins the likes of Dakota Johnson, Kristen Stewart and more who've styled sheer looks for their attire during the 2025 Cannes Film Festival. Johnson wore a sheer Gucci dress to the 2025 Kering Women in Motion Awards on Sunday, while Stewart styled a sheer look from Chanel for the photo call of her directorial debut with 'The Chronology of Water.'
The 2025 Cannes Film Festival concludes on Saturday. Films premiering at this year's festival include Wes Anderson's 'The Phoenician Scheme,' Julia Ducournau's 'Alpha' and Lynne Ramsay's 'Die, My Love.'
View Gallery
Launch Gallery: Sheer Looks at Cannes Film Festival 2025: Dakota Johnson, Imogen Poots and More Celebrity Style, Photos
Best of WWD
Inside Jackie Kennedy's Three Engagement Rings: Untold Stories of the Love, Loss and Luxury Behind Her Iconic Jewelry
Vittoria Ceretti's Runway Modeling & Red Carpet Photos Through the Years [PHOTOS]
Zara Tindall's Royal Style Through the Years: Equestrian Influences, Formal Occasions and More, Photos

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

‘Olivia and the Invisible Earthquake' Director Irene Iborra on Helping Kids Understand Big Feelings and Life Changes in a ‘Luminous, Gentle Way'
‘Olivia and the Invisible Earthquake' Director Irene Iborra on Helping Kids Understand Big Feelings and Life Changes in a ‘Luminous, Gentle Way'

Yahoo

timean hour ago

  • Yahoo

‘Olivia and the Invisible Earthquake' Director Irene Iborra on Helping Kids Understand Big Feelings and Life Changes in a ‘Luminous, Gentle Way'

As the 2025 Annecy International Animation Film Festival approaches, anticipation builds for the world premiere of 'Olivia and the Invisible Earthquake,' a poignant stop-motion feature directed by Spanish filmmaker Irene Iborra that charmed at the French festival with a Work in Progress presentation last year. Adapted from Maite Carranza's novel 'La Vie est un film,' the stop-motion feature – the first ever from Catalonia – follows 12-year-old Olivia, who, after her family is evicted, convinces her younger brother that their hardships are part of a movie they are starring in. This imaginative coping mechanism sets the stage for a luminous drama that explores themes of resilience, solidarity, and the power of storytelling in the face of adversity. More from Variety Laying the Foundation: How Catalonia Is Building a Global Animation Powerhouse Xilam and TF1 Team Up on Animated Series 'Turbo Twins' Ahead of Annecy, MIFA Dandelooo Cinéma Pre-Sells 'Born in the Jungle' to Several Key Territories (EXCLUSIVE) Iborra, making her feature directorial debut, brings a handcrafted aesthetic to the film, utilizing animated objects to create a tactile and emotionally resonant world. The film has been praised for its sensitive portrayal of complex social issues, such as housing insecurity and parental depression, making it accessible to both children and adults. Ahead of its Annecy debut, Variety sat down with Iborra to discuss the creative journey behind 'Olivia and the Invisible Earthquake,' the realities of making a stop-motion feature in Spain and the role of animation in addressing real-world issues. Variety: Did you realize you were making the first stop-motion feature film in Catalonia? Irene Iborra: Honestly, no. I didn't realize it was the first feature film in Catalonia until we were already in pre-production. For me, what really mattered was the story and telling it through stop-motion because of the textures and the poetry this technique brings, something you don't find in others. Only later did it dawn on me that it hadn't been done before here. But we already had a community; I'm a teacher in a master's program that's been running for 10 years. So people were already making short stop-motion films. This project felt like a natural evolution. The film is very grounded in Barcelona, even though it explores universal issues like the housing crisis. How did you approach the design of the characters and sets? We wanted to tackle difficult topics in a luminous, gentle way, making them visually pleasant. The characters were designed by Morgan Navarro, a French comic artist. They're stylized, but because their clothes are made from real textures, they feel close to us despite their abstract faces. For example, we used wool for the hair, a texture I had worked with in my short films. I also deliberately avoided the typical round shapes of children's animation. Instead, we went for more defined lines, especially in the noses, to break that mold while still keeping them appealing. The sets are highly realistic, including actual graffiti found around Barcelona. I took photos around the city with Morgan, and the set design team recreated them beautifully. There's a constant tension between stylized puppets and realistic settings, which helps us feel both immersed in the story and aware that it's a crafted world. Also, details like making the characters more saturated in color than the backgrounds were carefully planned to underline our concept that people shape the space around them. The film's portrayal of Olivia's anxiety is powerful. What influenced your depiction of her inner world? I really pushed some boundaries here. Themes like the mother's illness and Olivia's panic are hard to present to kids. So, while the ground opens up and she falls into darkness, what she finds is a more peaceful, inner space. The stress of the fall is balanced with calm lighting and gentle design as she descends. These decisions were made together with the cinematographer, using light to make the environment gradually more serene. In stop-motion shorts, mental health is a frequent topic, so it didn't feel foreign to me. For Olivia, I liked the idea that fear can send us inward, into a personal space filled with metaphors like the whale or the furniture. That's where solutions might lie. We debated a lot about sound design, too; we didn't want to terrify children. I hope I didn't go too far, though we'll see what age range responds best. The little brother is seven, but the film might be more suitable for eight or nine and up. Given that this is a family film, but also a social issue film, how are you approaching distribution? We always saw it as auteur cinema for children. It's an adventure film, fun, emotional, maybe even tear-jerking, but definitely adventurous. We have great distribution partners: Pyramide internationally, Filmax for Spain and strong support from broadcasters like Televisión Española, TV3 (Catalonia) and À Punt (Valencia). Belgian, Swiss and French TV are also on board. Despite the risks, many believed in the film's potential. What were the biggest production challenges, especially making your first feature film in stop-motion? We were passionate but inexperienced. It was my first feature, and [producer] Mikel [Mas]'s first stop-motion film of any length. That led to stressful situations. The budget, while high for a first film, was low for a stop-motion feature, which meant cutting corners. Sometimes we had to sacrifice quality or perfection in favor of practicality. That was hard for everyone, but I'm happy with the balance we struck. The arrival of more experienced French and Belgian producers helped stabilize things. But yes, we had to work under pressure, sometimes making tough calls like telling people, 'This isn't perfect, but it's what we can do with the resources we've got.' Do you think this opens the door for more stop-motion films in Spain? This is only the third stop-motion feature made in Spain, after 'O Apóstolo' and 'Pos eso.' So yes, it's rare. But this film has massively increased the experience level of the teams involved. Whether another project of this scale will happen soon, I don't know; it's not easy to gather five production companies from around the world again. But the talent and know-how are here now. What was the production setup like across so many countries? Initially, each production company had its own space, one for puppets in Barcelona, another for sets in Valencia, some decor and 3D face modeling from Chile, puppet work in France. Eventually, we centralized everything in a huge studio in Sant Martí for shooting. Post-production was spread out – some in Switzerland, France, Belgium – but the physical shoot was all in one place. Are you planning to travel with the film now that it's finished? Absolutely. I've been with this film since 2017, adapting Maite Carranza's novel, and I won't leave it now. I already have festivals lined up, including Annecy. I believe this film needs my presence. It's delicate, it touches on sensitive topics like anxiety and depression. As both executive producer and director, I feel a strong responsibility to support and explain it to audiences around the world. Best of Variety All the Godzilla Movies Ranked Final Oscar Predictions: International Feature – United Kingdom to Win Its First Statuette With 'The Zone of Interest' 'Game of Thrones' Filming Locations in Northern Ireland to Open as Tourist Attractions

Xilam and TF1 Team Up on Animated Series ‘Turbo Twins' Ahead of Annecy, MIFA
Xilam and TF1 Team Up on Animated Series ‘Turbo Twins' Ahead of Annecy, MIFA

Yahoo

timean hour ago

  • Yahoo

Xilam and TF1 Team Up on Animated Series ‘Turbo Twins' Ahead of Annecy, MIFA

French animation studio Xilam Group is teaming up with broadcaster TF1 to develop a new CG animated series titled 'Turbo Twins,' which will feature in Xilam's lineup at next week's Annecy Animation Festival and its accompanying MIFA market. Aimed at children aged 6 to 10, the 26-episode action-comedy will air on TF1's leading kids' slot, TFOU, with delivery expected between 2027 and 2028. Xilam will also oversee global distribution. More from Variety Dandelooo Cinéma Pre-Sells 'Born in the Jungle' to Several Key Territories (EXCLUSIVE) Australia's Pixel Zoo Animation Studios Launches L.A.-Based Original IP Unit Pixel Labs (EXCLUSIVE) Adult Animation, Anime's Rising Influence Lead WIA's 2025 Annecy World Summit Lineup (EXCLUSIVE) 'Turbo Twins' takes viewers to Karston Speedway Summer Camp, where young K.A.R. racers compete for a coveted spot at the Nationals. At the heart of the story are the Turbo Twins, a teen duo for whom losing is not an option. The camp's blend of high-octane racing, wild contraptions and comedic rivalries sets the stage for a fast-paced and humorous adventure. The series is directed by Solène Azernour and developed from a bible created by Philippe Rolland and Hervé Nadler, with contributions from Jessica Kedward and Kirsty Peart. Marc du Pontavice, CEO of Xilam Animation, noted the project's strong early reception: 'Since introducing 'Turbo Twins' at Cartoon Forum, our racing heroes have been gathering strong interest thanks to the show's fast-paced, comedic storylines and fresh spin on the sports genre. TF1 is the perfect partner to join us on this adventure – and we can't wait to charge up on 'Turbo Twins' development together and see this vibrant series race into the homes of French and international families.' Yann Labasque, Head of TF1's Youth Programming, added: 'The show promises unique adventures that are focused on family relationships, where every individual is instrumental to the team's success. We can't wait to see 'Turbo Twins' endearing characters and exciting stories come to life, and share moments of competition and friendship at the Karston Speedway Summer Camp with our TFOU audience.' The collaboration reinforces both companies' commitment to high-quality, family-focused entertainment. Best of Variety What's Coming to Netflix in June 2025 New Movies Out Now in Theaters: What to See This Week 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts?

Stop-Motion Animation ‘Tales From the Magic Garden' Sells to Multiple Territories (EXCLUSIVE)
Stop-Motion Animation ‘Tales From the Magic Garden' Sells to Multiple Territories (EXCLUSIVE)

Yahoo

timean hour ago

  • Yahoo

Stop-Motion Animation ‘Tales From the Magic Garden' Sells to Multiple Territories (EXCLUSIVE)

New Europe Film Sales has closed distribution deals for stop-motion animation 'Tales From the Magic Garden' with buyers in multiple territories, ahead of its screenings next week at the Annecy Intl. Animation Film Festival in the Contrechamp Feature Competition. Buyers include Pack Magic in Spain, Hulahop in Croatia, Skalvijos Kino Centras in Lithuania, Falcon in Indonesia, Bear With Me Distribution in Slovakia, Pilot Film in the Czech Rep. and Animateka in Slovenia. Gebeka will release the film in France. Talks in other countries are ongoing. More from Variety Filmax Swoops on 'Jasmine & Jambo,' the Feature Spin-Off From the Multi-Prized and Robustly Sold Catalan Animation Series (EXCLUSIVE) Key Catalan Titles at the 2025 Annecy Animation Festival and MIFA Market 'Olivia and the Invisible Earthquake' Director Irene Iborra on Helping Kids Understand Big Feelings and Life Changes in a 'Luminous, Gentle Way' The film, which had its world premiere in the Berlinale's Generation Kplus section, follows three kids who spend the night at their grandpa's house. To fill the silence after losing their grandma, the family's storyteller, they begin to create their own stories and discover the power of imagination. The film is directed by David Súkup, Patrik Pašš, Leon Vidmar and Jean-Claude Rozec. The screenwriters are Marek Král, Petr Krajíček, Patrik Pašš, Jerneja Kaja Balog, Maja Križnik and Blandine Jet. It is based on a book by Arnošt Goldflam. The producers are Martin Vandas and Alena Vandasová of Czech Republic's Maurfilm; Juraj Krasnohorský and Henrieta Cvangová of Slovakia's Artichoke; Kolja Saksida of Slovakia's ZVVIK; and Jean-François Le Corre and Mathieu Courtois of France's Vivement Lundi! The co-producers are Czech Television, Slovak Television and Radio, RTV Slovenia and Pictanovo, with the support of Région Hauts-de-France and Studio Personne N'est Parfait! Financial support came from Creative Europe MEDIA, Eurimages, Czech Film Fund, Slovak Audiovisual Fund, Slovenian Film Centre, Public Agency of the Republic of Slovenia, Film Studio Viba Film Ljubljana, Région Bretagne/Bretagne Cinéma, Centre National du Cinéma et de l'Image Animée, TVR Tempo – Rennes Métropole, Gebeka Films, Tébéo, TébéSud, France Télévisions – France 3 Bretagne and NuFrame. Best of Variety New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Animated Program — Can Netflix Score Big With 'Arcane,' 'Devil May Cry' and the Final Season of 'Big Mouth?' What's Coming to Netflix in June 2025

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store