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Yahoo
18-05-2025
- Entertainment
- Yahoo
The 20 Best Cannes Dresses of All Time, According to Bazaar Editors
"Hearst Magazines and Yahoo may earn commission or revenue on some items through these links." When people complain that red carpets have lost their pizzazz, you can be nearly certain they're not talking about Cannes. The annual film festival's parade of dresses is notoriously the most glamorous of the season. Idyllically located on the French Riviera, with enough space to accommodate swanning around in billowing gowns, Cannes recalls a bygone era of glitz and glamour. The festival's carpet also has a strict set of unspoken rules: No shorts. High heels only. Short skirts not preferred. And most recently, no nudity or voluminous trains. Some of the most iconic looks in Cannes history have broken the code though, like Madonna stripping down to a Jean Paul Gaultier cone bra in 1991, or Kristen Stewart taking off her Christian Louboutin stilettos to walk the carpet barefoot in 2018. But others—such as Princess Diana's icy-blue Catherine Walker gown in 1987, or Rihanna's strapless taffeta Dior Couture from 2017—perfectly encapsulate what people envision when they think of unadulterated elegance. The 20 best looks, according to Harper's Bazaar's editors, run the gamut from risk-taking to perfectly poised. But what they all have in common is an unapologetic air of opulence. See every single one her Blond Ambition tour in the '90s, Madonna would shed her pinstripe suit to reveal her Jean Paul Gaultier cone bra while performing 'Express Yourself.' When she went to Cannes in 1991 to promote Madonna: Truth or Dare, which documented the controversial tour, she re-created the moment in a sea of black tuxedos and adoring fans. She entered wearing a voluminous pink taffeta jacket by Gaultier, her hands visibly clutching it closed, only to quickly remove it two minutes later and reveal a white satin cone bra, high-waisted knickers, and garter belt. The Cannes red carpet has a strict set of rules—it's recommended you don't even wear a short skirt—but Madonna didn't make her name by following the rules. I love watching the B-roll from this moment: The entire time she's swanning down the carpet, you can see her trying to hide her red-lipped smirk, knowing what's to come. This look further cemented Madonna as a true superstar, unafraid to, well, express herself. —Tara Gonzalez, senior fashion editorFour years after Madonna, Sharon Stone also took a risk on the Cannes red carpet in an unbuttoned look for the premiere of Isaac Mizrahi documentary Unzipped. Her silver Valentino skirt was buttoned only once, revealing a pair of hand-beaded hot pants underneath. While still considered moderately scandalous, it was not nearly as contentious as Madonna's fit. Still, Stone set a new precedent, proving that Cannes looks don't have to be entirely serious to ooze the glamour the red carpet is famous for. —TGCinderella came to life when Priyanka Chopra wore a Georges Hobeika gown at the 2019 Cannes Film festival. From the slicked-back hairdo to the perfect diamond additions, I thought she looked flawless. —Alicia Banilivy, fashion and retail credits editorWhere were you when Natalie Portman made Cannes fashion history in this petaled Dior gown? You might recognize it as the famous Junon dress, which originally debuted in Christian Dior's Fall/Winter 1949–50 runway collection—but fear not, fashion preservationists. Portman actually wore a re-creation of the Junon dress, complete with an ivory strapless bodice, a skirt made up of petal-like tiers, and flecks of ocean-blue sequins and beads embroidered throughout. —Chelsey Sanchez, associate editorWhat makes the Cannes red carpet different from any other is that the location allows for the carpet itself to be huge—perfect for accommodating dresses that take up space. It also means you can really see the movement of each gown, and Lupita Nyong'o's Gucci dress from 2015 proves it. Alessandro Michele had just recently taken over at Gucci, and this was one of his first big Hollywood red-carpet moments. Nyong'o personified the celestial energy his looks would later become known for, twirling down the carpet like an otherworldly fairy in chiffon. —TGNo one does red-carpet cool quite like Rihanna. Even at an event like Cannes—which, while glamorous, can be viewed as a bit stuffy—she was able to bring her signature edge to the festival with a creamy white Dior ball gown, matching floor-length cape, and teeny micro-glasses. The look is the perfectly curated eclectic mix, pairing a traditional Dior dress silhouette and a sleek chignon with classically Rih accessories like chunky bangle bracelets and emerald-green earrings. —Bianca Betancourt, culture editorPam Anderson in a chic black leather corset and black pants was such a moment at Cannes in the early '90s. I love the silliness and rebelliousness of it all: her getting off a Barb Wire–branded sailboat and standing on a dock doing full S&M, bombshell fashion camp in the French Riviera. Parfaite! —Brooke Bobb, fashion news directorWhen Yseult attended the 77th annual Cannes Film Festival, she completely stole the show with a recreation of Dior's iconic 'New Look' silhouette from 1947. This wink to fashion history was particularly special here at Bazaar, given that the 'New Look' term was coined by former editor in chief Carmel Snow, and Yseult totally killed it. As she later said in an interview: 'I went through Dior's archives, and for this first collaboration, it was important to me to wear the house's most iconic cut. It turns out my stylist was doing his research, and that was the look he had in mind for me. We instantly knew this was the look for Cannes.' They were both right. –Joel Calfee, assistant editorLet it be known that Cameron Diaz did the transparent trend before it became a trend. She wore this sparkly one-shoulder Versace number to Cannes in 2002. While daring in its own right (Diaz appears to wear little else underneath, besides some black briefs, it's a piece I can easily imagine going viral today. I love how bold the playful checkered print is, as well as some of the more understated details, like the twisted draping converging into a high-hip cutout. —CSVintage fashion queen Kate Moss looked amazing in a black feathered 1950s Jean Dessès dress she wore to Cannes in 1998—long before wearing archival dresses on the red carpet was popular. —Nicole Fritton, executive fashion directorI was absolutely gobsmacked when I saw Gemma Chan in this custom Oscar de la Renta dress at Cannes in 2021. It just does such cool things to the idea of the red carpet 'naked' dress. I love the interplay of the gold flowers and the cutout parts, especially the giant bloom by her neck, and it fits her like a dream. —Izzy Grinspan, digital directorHer Royal Highness Diana's 1987 ice-blue draped custom Catherine Walker gown was inspired by the one worn by Grace Kelly in To Catch a Thief—an homage from one fashionably glamorous princess to another. —Miguel Enamorado, accessories directorThe Cannes red carpet isn't effortless. It is painstakingly considered. The amount of work that goes into each look is impossible to ignore. And yet, somehow, without fail, every time, Chloë Sevigny always looks like she just threw something amazing on and happened to stumble into a movie premiere. I love all her Cannes looks, but this Loewe wool coat with the oversize scalloped collar from the Fall 2019 collection will forever be stuck in my brain. I think it has to do with the sunglasses. They make this look so cool and so Chloë in a way no one else can pull off. While some celebrities look like fabulous fish out of water at Cannes, Sevigny always looks exactly like herself. —TGI've always been a Parker Posey superfan—she brings that kind of 'What's she going to do next?' energy to everything she touches, and this Cannes look is no exception. I still remember when these photos came out, and I'm just as charmed today by how fully committed she is to the look—from the sequins to the turban to the shades to the posing. She is a constant delight! —Leah Chernikoff, executive editorDaniel Roseberry's artful gown made Bella Hadid look as if she were breathing with lungs made of gold. It's one of those red-carpet moments that made waves outside the fashion community—I had non-fashion friends asking me about this look for weeks after. And it's not hard to understand why. The surrealism of Schiaparelli is a perfect fit for something as mythical as the Cannes red carpet. —TGHunter Schafer is truly in a league of her own when it comes to red carpet dressing, and when she and her stylist Dara get together, they're pretty much unstoppable. So, it should come as no surprise that Schafer's Cannes red-carpet debut was a memorable one. For the premiere of Kinds of Kindness, the actor wore a steel blue design from the Armani Privé Spring 2011 collection, which was composed of a silk organza that looked like liquefied metal. It was a remarkable fashion sight to behold. –JCThe Fifth Element star Milla Jovovich wore the only beaded loincloth ever in the Cannes carpet's history—at least to my knowledge. And the look by John Galliano puts every single 'naked' dress out there to shame. The intricate embellishments make this entirely different from the famous white cutout bodysuit she wore in the film, als0 designed by Galliano. But there's still a clear synergy with that look, and nothing feels more cinematic than her bringing the punk aesthetic of her character to the carpet. —TGA muse to many—including designer Yves Saint Laurent—Catherine Deneuve may as well have written the handbook on how to wear a classic wardrobe staple but make it glamorous. She looked so elegant in her sparkling short-sleeved YSL dress on the 1966 carpet. —Jaclyn Alexandra Cohen, senior fashion and accessories editorThis custom Roberto Cavalli chainmail dress worn by Naomi Campbell is the epitome of elegance and glamour to me. She always looks statuesque, but this look makes her even more so, as if she had been dipped in shimmering gold for all of us to admire. —TGThere never has been and never will be anything better than Tom Ford–era Gucci. This white cutout gown from the Fall 1996 collection was just such a jaw-drop moment—so effortless, yet so striking. Could cry! It's also one of the few times Hadid has been styled by Law Roach. A duo we can only hope returns. —Faith Brown, senior social media manager You Might Also Like 4 Investment-Worthy Skincare Finds From Sephora The 17 Best Retinol Creams Worth Adding to Your Skin Care Routine
Telegraph
03-03-2025
- Entertainment
- Telegraph
Ariana Grande wears a ruby slipper... on her back (all the Oscars fashion moments you might have missed)
It's ironic that in a year when Anora (a wildly explicit, mordant comedy about a sex worker) swept the board at the Academy Awards that the overriding theme of red carpet dressing should be so demure. Old Hollywood silhouettes in pale icy hues of silver and sugar pink ruled the night. The blazing, brilliant young star Mikey Madison, who took home a statuette for her ride-or-die performance as the titular 'Ani'/Anora, is a courageous actress who could chosen to wear anything on the red carpet, but she played it safe in a reproduction of a 1956 Dior Couture gown and a princess-like up-do. If there was a touch of Audrey Hepburn about her look, perhaps it was deliberate. After all, you could make a case for Anora being the Holly Golightly of our unsettling times. Fittingly, it was left to the stars of Wicked (a deserved winner for best costumes) to provide some red carpet entertainment. Ariana Grande in a Schiaparelli sculptural confection and Cynthia Erivo in gravity-defying deep emerald velvet courtesy of Louis Vuitton have flown the flag for the joy of fashion throughout the awards season campaign. Indeed, Grande's astonishing ruby slipper dress for the pair's on-stage number was perhaps the most memorable look of the night. The statement back is back Sometimes a statement back can be the most subtly sexy and provocative statement of all. Margaret Qualley's choice of a plunging back, black velvet dress, designed by Chanel – all the better for showing off the diamond lariat necklace which dripped down her spine – had an easy, insouciant glamour about it. Red carpet diplomacy points should also be awarded here – going for a more full-on look or spangles might have stolen some of the spotlight from her The Substance co-star Demi Moore, who was widely expected to win in the Best Actress category. Meanwhile, the hidden ruby slipper built into the bodice of Grande's surrealistic Schiaparelli dress (worn for her and Erivo's goosebump-raising rendition of Somewhere Over the Rainbow which opened the awards) was a tour de force of design and subtle fashion messaging. The deep ruby-red hue of the gown suited Grande to a tee, while that pointed shoe at the back of her neck felt like a kick back at her detractors. Grande and Erivo's performance was an explicit love letter to the resilience of Los Angeles after the wildfires. Erivo's dress, the closing look from Vivienne Westwood's Spring/Summer 1997 runway collection, featured bold floral appliqués tumbling down the back, symbolising 'the idea of being blinded by love' (according Erivo's stylist Jason Bolden on Instagram). If in doubt, add a bow Bows of all shapes and sizes adorned gowns at the Oscars this year, and it's easy to see why: it's a detail that has the capacity to transform a relatively classic look into something demure, or even whimsical. Witness Madison in Dior, Felicity Jones in sleek, silver Giorgio Armani Privé, Lupita Nyong'o in Chanel, and Elle Fanning offering an early glimpse of Givenchy's Sarah Burton era. Another highlight was singer-songwriter Brandi Carlile's polka-dot Valentino suit, with a floppy scarlet bow. The boldest take on the theme came courtesy of The Brutalist 's Raffey Cassidy, whose oyster-hued Loewe gown featured an oversized bow at one shoulder. It's one of those rare red carpet trends that can transcend into real life, too – pin a bow brooch to your collar, waist, handbag… The only limit with this versatile accessory is your imagination. A lighter shade of pink Continuing the demure, sweet theme was the prevalence of pale pink on the red carpet, which would have looked a bit saccharine, had it not been so icy pale. Instead, it was presented as a new neutral that any of us could embrace. Monica Barbaro led the charge in custom Christian Dior, a look reminiscent of Gwyneth Paltrow's pink Ralph Lauren gown from 1999. Selena Gomez sparkled in a beaded Ralph Lauren gown, inspired by Sophia Loren, while Grande continued her 'Glinda-core' streak in Schiaparelli. There were deeper shades of pink too (see Madison, above) which were just as pretty, but it's that ultra-pale shade that's really going to take hold this spring. Silver beats gold The Oscars statuette may be gold-plated, but silver was the metallic shade of choice on the red carpet. Best Actress nominee Moore led the way in a crystal embroidered Giorgio Armani Privé gown, which featured a plunging neckline – another win for midlife stars embracing the return of cleavage on the red carpet – and sculptural pleated hip detailing. Next to nod to the timeless glamour of the silver screen with a Giorgio Armani Privé moment was Jones, who looked radiant in liquid silver. But perhaps the most overt advocate was Halle Berry, whose mirror ball-like Christian Siriano gown was almost entirely covered in reflective shards of silver. Another embellished triumph came courtesy of Emma Stone in a scoop-neck Louis Vuitton gown made from silver metallic discs. The Golden Age of Hollywood, at least sartorially speaking, appears to be over. Velvet is not just for Christmas Now that a glimmer of spring has arrived, the urge for festive dressing feels but a distant memory – not so on the Oscars red carpet, where velvet was a key fabric of the night. A most compelling case for embracing it came from Isabella Rossellini, who donned a blue velvet Dolce & Gabbana dress that served as a tribute to the late director David Lynch (Rossellini's breakthrough role was in his 1986 film, Blue Velvet). Scarlett Johansson also turned to the decadence of velvet for the biggest night in film, wearing a deep navy Mugler gown with a plunging cowl neckline, accessorised with matching opera gloves and glittering De Beers diamonds. Blue was not the only option; Meg Ryan looked sensational in a strapless red velvet gown that featured a floating bodice, while Georgina Chapman stuck with classic black in a sculptural custom Marchesa dress. Don't retire those wintery velvet pieces to the back of the wardrobe just yet. Men's tailoring with a twist Lemon sorbet, mocha mousse, tomato, mushroom and sage; Hollywood might be on Ozempic, but the spoils of the larder informed the shades of suiting at this year's Oscars, from Timothée Chalamet in the aforementioned sunny tones from Givenchy to Andrew Garfield in deliciously chocolatey Gucci. It wasn't a vintage year for debonair dressing on the part of the men; less peacocking – always pleasing to watch – and more polite black tie. There's nothing wrong with that, especially for the older gents, but it can look rather identikit and blank. Although there were efforts to add a hint of personality via a lapel pin, which seems to be the new statement watch; Adrien Brody in a fantastical emerald-studded pin and Robert Downey Jr in Tiffany. We just add a special mention to the ever-joyous Jeff Goldblum in classic black tie with an injection of whimsy via his lilac evening scarf and bold shirt, and to Brit boy Joe Locke who wore white tie with an energetic Gen Z twist; Fred Astaire-style tails but with a sleek sequinned waistcoat courtesy of Celine. All eyes on eyeliner Is there anything more classically Hollywood than a slick of red lipstick? Perhaps not, but the best supporting act and unsung hero of the 2025 Oscars red carpet, at least in the make-up stakes, was the humble black eyeliner. Best Actress winner Madison has made a softly smudged line of kohl part of her statement look this awards run, while Moore, Gomez and Fanning all employed the use of liner to varying degrees of thickness. It's nothing new: back in the Fifties Rita Hayworth and Marilyn Monroe knew the striking power of liner, and it still remains the most universally flattering way to frame the eyes. The only difference now? There are some fantastic waterproof versions should a teary Oscars acceptance speech be required.
