The Met Gala is still making its way around your newsfeeds, but the fashion world has already moved on to the South of France, where the annual Cannes Film Festival is underway. With some of the world’s biggest cinema stars, socialites, models, and the occasional influencer, its decidedly the year’s most glamorous seaside red carpet. This year, the jury alone includes style stars like Demi Moore, Ruth Negga, and Chloé Zhao, but the film lineup promises appearances from an array of other famous faces, sure to bring their best looks along with them.
Per usual, this year’s festival features an impressive list of film debuts. There’s The Black Ball starring Penelope Cruz, Glenn Close, and Julio Torres as well as Renate Reinsve and Sebastian Stan’s Fjord, and Scarlett Johansson’s new film with Adam Driver and Miles Teller, Paper Tiger. All of those names, and more, are sure to hit the carpet over the next two weeks, so keep checking back here for all the red carpet fashion from the 2026 Cannes Film Festival.
Demi Moore
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In Jacquemus with Chopard jewelry at the opening ceremony on May 12.
Jane Fonda
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In Gucci with Pomellato jewelry at the opening ceremony on May 12.
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Margot Robbie was a drama-club kid during her teenage years, as one would expect of someone who is now an Oscar-nominated actress and theater producer. Yet today in London, Robbie was feeling a little bit more like a band geek—at least, sartorially speaking. Attending the West End transfer premiere of the play 1536, Robbie suited up in McQueen’s edgy take on a marching band–esque jacket. A pair of ultra-low-rise “bumsters” added even more drama.
While they’re technically better referred to as Napoleon jackets or military jackets (we just prefer the less violent interpretation), marching band jackets have seen a sudden return to fashion this year. They had originally been repurposed as a signifier of subversive cool back in the ’80s when Britain’s New Romantics music scene appropriated the look (see: Adam Ant), and then returned to the “In” list in the ’00s when they popped up on the influential runways of Hedi Slimane–era Dior Homme and Christophe Decarnin–era Balmain. The garment reappeared en masse on several spring 2026 runways, although Robbie’s McQueen version may be the sexiest iteration.
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Robbie wore a black T-shirt underneath, but the jacket itself is cropped mid torso—meant to be worn wide open. While the piece exposes the midriff, elongated sleeves kept Robbie’s knuckles modestly covered. It’s decidedly on trend, but the outfit also harkens back to Alexander McQueen history. The house founder showed a cropped military jacket in his 2003 “Irere” collection. The low-rise “bumster” pants that Margot wore are, of course, one of the definitive McQueen codes. They’re called “bumster” because they’re cut so low, they risk showing off a bit of bum. Robbie, however, managed to avoid that risk.
Courtesy of McQueen
Written by Ava Pickett, 1536 explores the impact of Anne Boleyn’s execution on three working class women in Tudor England. The play picked up numerous awards and rave reviews. Robbie and her Lucky Chap Productions company came aboard as producers as the show moves to the West End.
So, while the event may have been more drama club, we guess it’s appropriate that Robbie was on the sidelines helping to hype the production in her marching band jacket.
Brianna Capozzi, ‘Bella Hadid,’ New York City, 2018. Courtesy of the artist
“My mom cooked us lunch,” the photographer Brianna Capozzi says, recalling a 2014 photo shoot with Chloë Sevigny. “She was at my dining table getting her hair and makeup done. It was incredible to have somebody at that level trust you to that extent.” At the time, Capozzi—who went on to have a star-studded career shooting Kim Kardashian, Miley Cyrus, and Selena Gomez, along with ad campaigns for Calvin Klein and Gucci—was still a bit of a gamble; she’d only been working as a photographer for a few years prior. But Sevigny was charmed by Capozzi’s energy and warm confidence, and the actress ended up leaning fully into Capozzi’s aesthetic world, which frames her subjects at their most vulnerable, goofy, and real. She donned a nun’s habit, several wigs, and, at one point, draped a lobster over her crotch in place of underwear.
Today, the New York–based, self-taught photographer and director is gearing up to launch her latest book, Womanizer, out now via Rizzoli. The tome features a foreword by Sevigny and an accompanying exhibition, at New York’s Rectangle Room, opening May 14. The images featured in Womanizer speak to the photographer’s adoration for women, and her affinity for props. The name of the book is a reference to Helmut Newton. “I was telling a friend how Susan Sontag thought he was a womanizer, and then what that means to love his images—he’s one of my top influences,” Capozzi says. “How fun, to turn it on its head as a woman. At the end of the day, what does that word mean?” The new book doesn’t so much answer the question as celebrate Capozzi’s singular vision (a unique marriage of erotic power with the absurd and sometimes mundane), featuring Olivia Rodrigo, Karol G, Pamela Anderson, and Gwyneth Paltrow, as well as her mom and grandma.
Brianna Capozzi, Chloë Sevigny aiming a banana gun, New York City, 2017. | Courtesy of the artistBrianna Capozzi, Selena Gomez with Mickey Mouse gloves, Los Angeles, 2019. | Courtesy of the artistBrianna Capozzi, Karol G | Courtesy of the artistBrianna Capozzi, Gwyneth Paltrow, New York City, 2024. | Courtesy of the artist
Capozzi, who was raised in New Jersey, didn’t grow up necessarily envisioning herself as a photographer. She studied integrated design at Parsons in 2006, where her tutors included the fashion designer–turned-artist Susan Cianciolo. Womanizer revisits early work from those years, in addition to the campaigns, editorials, and personal projects she has amassed over the past decade while working with brands like Skims and Marc Jacobs and shooting editorial (sharp-eyed fans will notice a 2018 W story with Grace Elizabeth, featuring a bed frame and a croc-skin purse, among its pages).
Brianna Capozzi, Laverne Cox, New York City, 2025. | Courtesy of the artistBrianna Capozzi, Miley Cyrus shot for her album Flowers, Chatsworth, Calif., 2022. | Courtesy of the artist
Capozzi’s photographs merge all the characteristics of her imagined muse, a glamorous risk-taker inherent in her psyche since childhood. “There’s a trickle-down effect that infiltrated my brain,” she says. “I come from a lineage of amazing women and I always felt like I could do whatever I wanted and could get what I wanted. [My muse] has definitely developed over the years, but she remains a bit unhinged, in the best way.”
Brianna Capozzi, Omahyra Mota in the garden of Villa Vizcaya, Miami, 2020. | Courtesy of the artistBrianna Capozzi, Kristen Stewart | Courtesy of the artist
While the book is an established format for Capozzi, who released Sisters in 2024 and Well Behaved Women in 2018, the solo exhibition marks a first, inspiring the photographer to engage with her work in a new way. “It’s been fun to think about framing, and to create a smaller edit. I’m such a book person, but this is a completely different context,” she explains. A collaboration between Rectangle Room and film lab Primary Photographic, the show will feature just 16 portraits: eight large-scale prints and eight Polaroids. “I’ve chosen images that epitomize the idea of womanizers,” offers Capozzi. “It could have gone in many different ways, but it’s very much about these single women and their strength. And then all of the Polaroids are the celebrities.”
Nobody has fun with fashion quite like Demi Moore. The actor loves making a statement, and she’s to continue that streak this year as a member of the jury for the Cannes Film Festival. To kick off the first day, Moore delivered a burst of whimsical polka dots, courtesy of Simon Porte Jacquemus.
While arriving to a jury members’ photo-call at the Palais des Festivals, Moore stepped out in a strapless white dress from Jacquemus’s fall 2026 collection. Her style featured exaggerated hips as well as a mermaid-style tiered hem. However, the piece’s boldest accent came from a smattering of black, red, blue, and yellow polka dots—many attached to thin wisps of feathers, creating a floating effect.
To match her dramatic dress, Moore carried a polka-dotted version of the brand’s Valérie handbag. Stylist Brad Goreski kept focus on the star’s look with clean white pumps and coordinating cat-eyed sunglasses, framing her statement piece with stark neutral elements. Sparkling blue sapphire and diamond earrings glamorously completed Moore’s ensemble with a touch of sparkle.
Moore’s polka-dot dress proved her longtime statement dressing streak is only growing. Whether she’s wearing feathered Balenciaga couture, Western-inspired Brandon Maxwell suiting, or a leather Gucci catsuit, Moore has proven adept at wearing a range of dynamic looks in recent years. Her Jacquemus number is no exception, bringing a playful take to the classic, crisp white attire that’s signature of the south of France.
Of course, this is only the beginning of Moore’s upcoming Cannes wardrobe. On his Instagram Stories, Goreski teased her white dress as “Look 1,” nodding to a range of outfits on the horizon. As part of this year’s jury, Moore will spend 12 days viewing the festival’s various films—and ultimately deciding its 2026 winners—alongside fellow jury members Ruth Negga, Chloé Zhao, Park Chan-wook, Laura Wandel, Diego Céspedes, Stellan Skarsgård, Isaach De Bankolé, and Paul Laverty. With a swathe of premieres, parties, and additional events coming up, we can expect plenty of eye-catching looks in store from the fashion-forward star.
The Cannes Film Festival has officially begun, and Meadow Walker is taking an easygoing approach to the whirlwind occasion. The model arrived in the south of France in a Max Mara look that was polished enough for a bit of business, but relaxed enough for travel.
While leaving the Hotel Carlton this morning, Walker was spotted in a white and blue–striped linen shirt beneath an oversize, double-breasted cream blazer. The breezy, timeless pair was a sharp departure from her traditionally darker aesthetic, but not without a dash of nonchalance. Instead of traditional suiting trousers or matching shorts, Walker slipped on long black drawstring track pants with white stripes down their sides. It gave her ensemble a sporty, laidback feel.
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An assortment of classic accessories grounded Walker’s look with a chic ease. The star completed her outfit with a pair of silver-framed squared sunglasses, as well as a large black leather version of Max Mara’s Whitney tote bag. Her look was finished with narrowed black leather flats, accentuated by rounded toes and high vamps.
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With its mix of business and athleisure pieces, Walker’s outfit made the case for easygoing off-duty dressing. It’s an ethos that’s also shared by stars like Rihanna and Lisa, where comfort is optimized with a combination of relaxed and luxe pieces. The moment also marked Walker as the latest celebrity to sign off on high-coverage ballet flats, a trending silhouette that’s been seen in new collections from Lemaire, Jimmy Choo, Massimo Dutti, Alaïa, and more.
Walker’s appearance at the Cannes Film Festival will be both nostalgic and heartfelt. Later this week, the star will be attending the festival’s 25th anniversary screening of The Fast & the Furious, notably led by her late father Paul Walker. With stars Vin Diesel, Jordana Brewster, and Michelle Rodriguez also confirmed to attend, the event will be a meaningful one amidst the slate of film premieres and parties taking over the south of France.
An installation shot of the 2026 Loewe Craft Prize exhibition on view at the National Gallery Singapore. Courtesy of Loewe
The winner of this year’s Loewe Craft Prize, Jongjin Park, has many skills. The South Korean artist could most simply be described as a ceramicist—but to stand out among the 29 finalists vying for the international award, which lauds innovation in modern craftsmanship, Park employed a range of craft traditions. As a result, the assistant professor at Seoul Women’s University—who holds an MFA, BFA, and PhD in ceramics from Kookmin University—received the coveted Loewe Craft Prize for 2026 in Singapore on Tuesday. The finalists were selected from over 5,100 submissions by artists representing 133 countries and regions, all of whom work across a number of mediums like woodwork, furniture, bookbinding, glass, and jewelry. Park’s work, Strata of Illusion, 2025, won over the jury due to its exploration of tension between control and collapse. The chair-like statue is hardly what one pictures when they consider traditional ceramics; Strata is constructed from thousands of layered sheets of paper, coated in porcelain slip. When placed in the kiln, the paper burns away and gravity takes over, distorting the work and causing the center to nearly collapse.
The 2026 Loewe Craft Prize winner, Jongjin Park. | Courtesy of Loewe
The Prize’s jury—which consists of leading figures from the worlds of design, architecture, and criticism, alongside Loewe creative directors Jack McCollough and Lazaro Hernandez—chose Srata as its winner because of the piece’s ability to confound the expectations surrounding the art of ceramic-making. Park’s use of air to establish form and layering of paper evokes the practices of glassblowing and bookbinding. Strata’s resistance against using one singular material evoked the central meaning of the Prize, according to the jury.
Strata of Illusion, 2025, Jongjin Park. | Courtesy of Loewe
Alongside Park, special mentions were given to the Baba Tree Master Weavers and Álvaro Catalán de Ocón, as well as Graziano Visintin. Spanish designer Catalán worked with the Master Weavers collective—composed of Mary Anaba, Charity Aveamah Atuah, Christiana Anaba Akolpoka, Asakiloro Aduko, Mary Ayinbogra, Teni Ayine, Subolo Ayine, and Punka Joe—which presented Frafra Tapestry, a large-scale, communally woven tapestry based on aerial photography of a traditional village in Ghana’s Gurunsi region. Visintin, meanwhile, was recognized for his work, Collier: two necklaces composed of tiny cubes of gold and niello.
The 2026 Loewe Craft Prize jury. | Courtesy of Loewe
“It has been a privilege to join the jury of the Loewe Foundation,” said McCollough and Hernandez. “Craft has been at the heart of Loewe since the house was founded 180 years ago. Across each of the shortlisted works, we encountered an extraordinary sense of commitment, creativity, and innovation. Together, they stand as a powerful testament to the enduring possibilities of making.”
Frafra Tapestry, 2024, Baba Tree Master Weavers (Mary Anaba, Charity Aveamah Atuah, Christiana Anaba Akolpoka, Asakiloro Aduko, Mary Ayinbogra, Teni Ayine, Subolo Ayine and Punka Joe) × Álvaro Catalán de Ocón. | Courtesy of LoeweCollier, 2025, Graziano Visintin. | Courtesy of Loewe
The Loewe Craft Prize was founded in 2016 by the Loewe Foundation and then–creative director Jonathan Anderson as a way to showcase and celebrate innovation, excellence, and artistry in contemporary craft. This year, the winner was awarded €50,000, and each special mention received €5,000. All 30 shortlisted works will be exhibited at the National Gallery Singapore from May 13 until June 14; they can also be viewed virtually via the Loewe Foundation’s digital platform, The Room.
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Naturally, Amal Clooney knows her way around a red carpet. Though you might be familiar with the star’s glamorous eveningwear moments, she’s also earned her fashion stripes for her unique collection of vintage pieces. That streak continued this week, when Clooney—along with husband George Clooney—stepped out for The King’s Trust 50th anniversary celebration in London, fittingly wearing a design from one of the city’s most legendary designers.
During the event at Royal Albert Hall, Clooney shone upon arriving in a golden dress from Alexander McQueen’s fall 2007 collection. The piece featured a deep neckline, complete with a long hem and capped sleeves ideal for the formal occasion. Most notably, sequins coated the piece in intricate geometric patterns, a standout within the darker, symbol-themed collection—which was inspired by McQueen’s family ties to a victim of the Salem witch trials.
Mark Cuthbert/UK Press/Getty Images
Clooney paired the vintage style with a gold bangle, interlocking hoop earrings, and a shimmering sequined clutch. Pointed-toe pumps, a constant in her wardrobe, brought her look a gilded finish. Glowing makeup by Charlotte Tilbury completed the effect with a radiant touch.
George, meanwhile, took the classic route in a deep blue suit and smooth black derbies. A set of dark sunglasses brought a dash of movie star flair to his attire, which—like Amal’s—has retained a polished, streamlined look through classic details over the years.
Mark Cuthbert/UK Press/Getty Images
Of course, Clooney’s no stranger to wearing historical designs on (or off) the red carpet. The star’s past outings have included archive and vintage looks from the ’50s’, to the ’90s, hailing from designers from Pierre Balmain to Yves Saint Laurent, Cristóbal Balenciaga, and Jean-Louis Scherrer. As the Clooneys make frequent appearances on the international film festival scene, it’s all but certain she’ll continue delivering more vintage-centric statements this season.
Alysa Liu wears Loewe sweaters and shorts throughout.
On a Monday afternoon in March, Alysa Liu navigated the corridors surrounding the ice rink at Rockefeller Center with her skates anchoring her five-foot-three frame. Tilting her ankles slightly outward, she stomped across the terrazzo floors. In her wake, bystanders broke into spontaneous applause. It was the kind of involuntary reaction reserved for freed political prisoners, first responders, and, as it turned out, a punky-haired sports star who had just become the first American woman to win Olympic figure skating gold in 24 years.
Minutes earlier, an overzealous fan had attempted to ambush Liu in the locker room. The day before, she’d had her first brush with the paparazzi. “Initially, I thought it was funny. And then today it happened again—less funny,” she said. “They were kind of shady. They roasted me.” But just as the 20-year-old sensation had appeared inured to pressure in Milan while racking up a winning score of 226.79, her personal best, Liu was once again largely unfazed by the followers who have now become a feature of her daily life.
“I actually don’t want to be famous,” Liu told me matter-of-factly. Seated on a nondescript sofa in a private office tucked away from curious onlookers, she had changed out of her work uniform and into sweatpants and Uggs. She joked that her mane, dyed in a pattern resembling that of a ring-tailed lemur, had been that way “since birth.” Flashing a smile to reveal her mouth piercing, a small horseshoe-shaped barbell that hangs over her two front teeth, she added: “Unfortunately, the things I like to do are just going to make me famous.”
Indeed, being responsible for one of the most unlikely comebacks in the history of the Winter Games has proven more dizzying than any triple-triple. Since February, she has tasted an edible gold medal made of Lucky Charms with Al Roker on the Today show (a bowl of the cereal’s colorful marshmallows is currently her profile picture on Instagram, where her followers have jumped from a few hundred thousand to more than 8 million since the Olympics); sat front row at Nicolas Ghesquière’s fall/winter 2026 show for Louis Vuitton in Paris, clad in a brown denim jacket and matching baggy jeans; and presented Taylor Swift with the Artist of the Year award at the iHeartRadio Music Awards. The New York Times crowned her “the new face of her sport,” adding that her “effervescence intoxicates arenas, wafts through screens, and infects millions of viewers.”
But it goes further than that. More than just a trending figure skater, Liu has emerged as a new kind of pop culture figure entirely: an iconoclast who has won over the worlds of dance, music, fashion, and art by simply being herself. “I just have so many ideas I want to get out there,” she said. “Podium finishes aren’t really part of that.”
Liu is the eldest of five children, raised in Oakland, California, by their single father, Arthur Liu, a lawyer who built his family through anonymous egg donors and surrogacy. He started her at figure skating when she was 5, hoping to make her into a medalist. At 12, Liu became the youngest American to land a triple Axel in international competition; at 13, the youngest U.S. champion in the history of competitive skating; and at 14, the first American in women’s figure skating ever to land a quadruple Lutz.
She participated in the 2022 Olympics, but didn’t win any individual medals; burned out from the athletic grind, she quit at age 16. “Literally, my whole life was just skating and scores. If I fell, life was over. If I took one day off, it was over,” she said. “I was always in fight-or-flight mode when I was a kid.” She spent the next few years hiking Everest base camp; attending UCLA, where she majored in psychology while taking a few film classes; and, crucially, finding her calling outside of competing. At the end of that year, she self-pierced her frenulum.
When she returned to competition, in 2024, she did so entirely on her own terms. “I was like, ‘You tell me to change, I’m quitting again,’ ” she said of the officials who bristled at her feral-kawaii look, a sharp break from the steely status quo set by traditional ice princesses. “Why would I change my hair for you?” That self-assurance has since produced the so-called Alysa Liu Effect, a continuous scroll of videos in which people revisit sports after having quit them.
When a contact in the tournament world suggested Liu listen to Donna Summer’s “MacArthur Park Suite,” something clicked immediately. “I was like: I can dance to this,” she said. An iconic photograph shot during Liu’s Olympic free skate captures her rapturous Biellmann finish, the move in which she reaches back, grabs the blade of her skate, and pulls it overhead until her body forms an almost impossibly elongated teardrop shape while spinning. The image is nearly abstract, the gold costume whirling outward as if worn by an after-dark reveler lost in the music at Studio 54. Never mind that she didn’t know who Donna Summer was. After her performance, the 1978 song hit No. 1 on Billboard’s Dance Digital Song Sales chart. Now Liu’s favorite track is “I Feel Love.”
Liu collaborated on the dresses she wore at the Olympics with the designer Lisa McKinnon. The gold competition look—built around an asymmetrical shoulder cut, drenched in crystals, with a turtleneck-choker silhouette—was conceived to read “very disco, very sparkly, lots of movement,” Liu said. The number registered across the cultural spectrum. Barbra Streisand, who recorded with Summer the 1979 duet “No More Tears (Enough Is Enough),” posted it on her Instagram; Sports Illustrated’s Swimsuit issue featured a gold bathing suit by the Blonds that paid homage to Liu’s free-skating fashion.
For her exhibition program, set to PinkPantheress and Zara Larsson’s “Stateside” (which also skyrocketed to the top of the charts), Liu wore a puff of pinstripes that drew on J-pop theatrics. She improvised the choker from a scrap of fabric. “I love pinstripes, but in crystal, because I’m a figure skater,” Liu said. The buns in her hair were color-coded to match the Olympic rings.
She traces her performance instincts back to her childhood spent studying the masters of compressed, high-impact visual spectacle. “Ever since I was, like, 3 years old, I’ve loved watching music videos by Lady Gaga, Michael Jackson, and Britney Spears,” she said. She almost went to school for film, which explains in part why her costumes and choreography have such cinematic flair. On YouTube, her layback spins and open-arm landings rack up views commensurate with those of the tracks they’re performed to. In March, Liu worked with the Oscar-nominated costume designer and stylist Miyako Bellizzi, a fellow Bay Area native, on looks for her post-Olympics New York City press tour.
“I think everything has a little bit of art in it,” she said, gently thrusting her piercing with her tongue as she considered her next leap forward. Still, she added, “someone could teach me how to sew so I can make everything on my own.”
Hair by Tamara McNaughton for Bumble and Bumble at R3-MGMT; makeup by Yumi Lee for Armani Beauty at Streeters. Photo Assistants: Nick Thomsen, John Griffith; Retouching: Vingt-Six; Fashion Assistant: Isabel Choi; Special Thanks to The Rink at Rockefeller Center.
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