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
Samir Hussein/WireImage/Getty Images
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.
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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.
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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.
The Cannes Film Festival is any fashion lover’s dream. For two weeks in May, the world’s biggest stars dress up to the absolute nines and hit the red carpet day in and day out. Picking from their favorite couture moments or ready-to-wear gowns, the festival is a time for some of fashion’s most extravagant pieces to shine. No precise aesthetic defines the festival’s red carpet aside from a penchant for statements and a bit of adventurous glamour.
Models and actors alike have nailed the assignment over the years, wearing a range of designers including big names like Lanvin, Givenchy, and Alexander McQueen, and relatively more niche labels like Haider Ackermann (Tilda Swinton’s Cannes go-to), Narciso Rodriguez, and Ralph & Russo. As stars begin to descend on the south of France for the 2026 edition, we’re highlighting a few of our favorite statements from the Cannes Film Festival red carpet.
Rihanna, 2025
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Just a few weeks after announcing her pregnancy at the Met Gala, Rihanna hit the Cannes premiere for A$AP Rocky’s film, Highest 2 Lowest, in a cobalt blue Alaïa dress.
Alexander Skarsgård was the man of the moment at the Cannes Film Festival in 2025 when he promoted his gay biker drama, Pillion, in an array of out-of-the-box looks. While most men walked the red carpet in traditional black tuxes, the actor opted to wear thigh-high leather boots to complete his Saint Laurent ensemble.
Natalie Portman loves to bring a reimagined, archival Dior dress to the Cannes red carpet. Two years after she attended the premiere for May December in a recreation of the famous Junon dress, she returned in a modern version of the Mexique gown from the Dior fall 1951 haute couture collection.
Sometimes, less is more. Simone Ashley proved that when she attended the Cannes Film Festival in 2025 wearing a gorgeous, white Vivienne Westwood spring 2025 dress.
Isabelle Huppert, 2024
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Isabelle Huppert broke the tradition of Cannes red carpet gowns in 2024 when she wore this elevated bathrobe from Balenciaga.
It’s one thing to wear archive Chanel, and an entirely different thing to wear archive Chanel you modeled on the runway two decades prior. Naomi Campbell did all of that and more in 2024 when she wore this vintage couture look from 1996.
Jennifer Lawrence loves a flat, and her decision to wear flip-flops underneath her red Dior dress was one of the more memorable pieces of footwear to hit the Cannes red carpet.
For the Cannes premiere of May December, perennial Dior muse Natalie Portman brought the house’s archives to the red carpet. She sported a recreation of one of Dior’s most famous designs, the Junon dress, which was originally created for the house’s fall 1949 collection.
Lily-Rose Depp, 2023
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There’s LBDs and then there’s archival LBDs like the one Lily-Rose Depp wore to Cannes in 2023. The actress, in town for the premiere of The Idol, sported a vintage Chanel mini dress, a take on a dress that was first modeled by Helena Christensen back in 1994.
Bella Hadid, 2022
Photo by Marc Piasecki/FilmMagic
Bella Hadid brought many archive looks to the 2022 festival, but this Tom Ford-era Gucci dress from fall 1996 absolutely takes the cake.
Elle Fanning, 2022
Photo by Daniele Venturelli/WireImage
Elle Fanning looked like a modern day princess in a pale pink Armani Privé gown with Chopard jewels fit for royalty.
Viola Davis, 2022
Photo by Daniele Venturelli/WireImage
Viola Davis radiated beauty in a canary yellow Alexander McQueen dress, which she accessorized with Boucheron jewels.
Anne Hathaway, 2022
Photo by Li Yang/China News Service via Getty Images
Some would say this Armani Privé dress Anne Hathaway wore to the Armageddon Time premiere began the actor’s current red carpet streak, as she’s hardly had a miss since.
Deepika Padukone, 2022
Photo by Pascal Le Segretain/Getty Images
As a jury member, Deepika Padukone attended many red carpets during the 2022 festival, but the sculptural orange Ashi Studio dress she wore to the 75th-anniversary screening of L'Innocent was our favorite from the event.
Bella Hadid, 2021
Photo by Samir Hussein/WireImage
The model stole the show in this Schiaparelli fall 2021 couture dress which features a gold necklace shaped like a pair of lungs.
Gemma Chan, 2021
Photo by Mike Marsland/WireImage
The beautiful details of this Oscar de la Renta gown are what made it a standout during the premiere of OSS 117: Alerte Rouge en Afrique Noire in 2021.
Regina King, 2021
Photo by Andreas Rentz/amfAR/Getty Images for amfAR
Regina King brought major regal energy in this black Schiaparelli ball gown to the festival’s amfAR Gala.
Jodie Turner-Smith, 2021
Photo by Mike Marsland/WireImage
All eyes were on Jodie Turner-Smith in Gucci at the Stillwater screening during the 2021 festival.
Isabelle Huppert, 2021
Photo by Stephane Cardinale - Corbis/Corbis via Getty Images
Huppert, ever the ultimate cool girl, showed up to the Tout S'est Bien Passe (Everything Went Fine) screening in head-to-toe Balenciaga.
Elle Fanning, 2019
Photo by Daniele Venturelli/WireImage
Fanning looked like a modern princess in this caped Gucci gown at the screening of The Dead Don’t Die in 2019.
Bella Hadid, 2018
Photo by Venturelli/WireImage)
Hadid’s halter neck silver Elie Saab dress stole the show at Cannes in 2018.
Rihanna, 2017
Photo by Pascal Le Segretain/Getty Images
Rihanna stunned in Dior at the premiere of Okja in 2017.
Kirsten Dunst, 2016
Photo by Andreas Rentz/Getty Images
Kirsten Dunst made a marigold statement in custom Maison Margiela at the premiere of The Neon Demon.
Liya Kebede, 2016
Photo by Pascal Le Segretain/Getty Images
Liya Kebede opted for something a little different—a green velvet Haider Ackermann dress with one leg hole—at the premiere of The Unknown Girl at the 2016 Cannes Film Festival.
Amal Clooney, 2016
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Amal Clooney made one of her first red carpet appearances with her husband George at the 2016 festival.
Jessica Chastain, 2016
Photo by Clemens Bilan/Getty Images
Jessica Chastain radiated old Hollywood glamour in an Alexander McQueen gown at the premiere of Money Monster during the 2016 Cannes Film Festival.
Chanel Iman, 2015
Photo by Toni Anne Barson/FilmMagic
Chanel Iman stunned in Zuhair Murad at the amfAR gala at the Cannes Film Festival in 2015.
Fan Bingbing, 2015
Photo by Samir Hussein/WireImage
This Ralph & Russo gown was just one of a number of stellar red carpet looks from Fan Bingbing at the 2015 festival.
Lupita Nyong’o, 2015
Photo by George Pimentel/WireImage
At the 2015 Cannes Film Festival opening ceremony, Lupita Nyong’o made it her show in an emerald green Gucci dress.
Julianne Moore, 2015
Photo by Samir Hussein/WireImage
The Mad Max red carpet drew all the best looks, including Julianne Moore’s Givenchy couture in velvet.
Liya Kebede, 2015
Photo by Venturelli/WireImage
It wasn’t her film, but Kebede, in Proenza Schouler, still stole the show at the premiere of Mad Max: Fury Road during the 2015 Cannes Film Festival.
Blake Lively, 2014
Photo by Pascal Le Segretain/Getty Images
Blake Lively revealed she almost wore this Gucci dress to the Met Gala in 2014, but last minute decided to save it for The Captive premiere later that same month at Cannes.
Zhang Ziyi, 2014
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Zhang Ziyi wore this unique Stéphane Rolland dress on the red carpet of the Grace of Monaco screening during the 2014 Cannes Film Festival.
Tilda Swinton, 2013
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Tilda Swinton, in her go-to Haider Ackermann, at the premiere of Only Lovers Left Alive at the 2013 Cannes Film Festival.
Jessica Chastain, 2013
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Chastain’s ivory, caped Versace gown was classically beautiful, but more importantly, it acted as the perfect base for her Bulgari diamond-and-sapphire pendant. The necklace was a gift from Richard Burton to Elizabeth Taylor, making it an appropriate accessory for an anniversary screening of Cleopatra at the 2013 festival.
Carey Mulligan, 2013
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For the 2013 premiere of her Coen Brothers film Inside Llewyn Davis, Carey Mulligan selected a black-and-white Vionnet look.
Diane Kruger, 2012
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This Vivienne Westwood dress looks like it was basically poured onto Diane Kruger’s body.
Naomi Campbell, 2010
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Campbell reminded us why models are a fixture on the Cannes red carpet when she stepped out in this custom gold Roberto Cavalli halter dress back in 2010.
Cate Blanchett, 2010
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Cate Blanchett wore an Alexander McQueen gown for the premiere of Robin Hood at the 2010 festival.
Angelina Jolie, 2008
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Then pregnant with twins Knox and Vivienne, Angelina Jolie looked ethereal in 2008 in a green Max Azria gown.
Linda Evangelista, 2008
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Models descend on Cannes every year, but few can pull off supermodel Linda Evangelista’s statement Lanvin at the 2008 Cannes Film Festival.
Natalie Portman, 2005
Photo by Christian Alminana/FilmMagic
While Portman’s beaded black gown was nice, the major statement of this look was the debut of her V For Vendetta buzz cut.
Tilda Swinton, 2003
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Swinton walked Viktor & Rolf’s fall 2003 runway show, acting as the design duo’s muse, so it was fitting she wore a look from the brand’s fall 2002 collection to that year’s Cannes festival.
Cameron Diaz, 2002
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Cameron Diaz brought the naked dress to Cannes all the way back in 2002 with the help of Versace.
Naomi Campbell, 2001
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Naomi Campbell, a fixture of the festival, attended the annual amfAr gala in a sheer, paneled gown in 2001.
Tilda Swinton, 2001
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Per usual, Swinton stood out when she hit the red carpet, this time in a quirky fruit-printed dress by John Galliano for Dior.
Bjork, 2000
Hulton Archive/Dave Hogan
Marjan Pejoski, the designer of Bjork’s pink tulle gown for the 2000 festival, would go on to make the Icelandic singer’s famous Swan Dress for the Oscars just a year later.
Catherine Zeta-Jones, 1999
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Catherine Zeta-Jones looked like the prom queen of Cannes in this pink Thierry Mugler gown with a structured bodice.
Sharon Stone, 1995
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Sharon Stone had some fun showing off her beaded Valentino romper with a skirt overlay at the 1995 festival.
Madonna, 1991
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Madonna, in Jean-Paul Gaultier, with Alex Keshinian, the director of the film In Bed With Madonna, at Cannes in 1991.
Elizabeth Taylor, 1987
Photo by ARNAL/GARCIA/URLI/Gamma-Rapho via Getty Images
The legendary actor really brought the ’80s energy in this red Nolan Miller gown with a cinched waist and some over the top shoulders.
Princess Diana, 1987
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All eyes were on Princess Diana when she walked out in this baby blue, strapless Catherine Walker dress at the festival in 1987.
Train travel is timeless. So was Simone Ashley’s velvet stunner of a dress. The Devil Wears Prada 2 star was one of several celebrity guests aboard the Belmond British Pullman luxury train on May 9 to celebrate the new private dining car, Celia. To fit the glamorous vintage aesthetic, Ashley opted for a textured gold velvet dress with an asymmetrical neckline from Donna Karan’s fall 2001 collection.
She paired the dress with dramatic gold chandelier earrings that just brushed her shoulders. Over top, Ashley wore a shaggy boho coat in a charcoal and white pattern with a fluffy collar and cuffs. She left her hair down in beachy waves and wore smokey eyeliner with a nude lip.
Photo by Sam Lort
Supermodel Stella Tennant originally debute the dress (sans coat) on Karan’s New York Fashion Week runway.
Victor VIRGILE/Gamma-Rapho/Getty Images
As for the matter of this luxury dinning car, Celia was imagined by Baz Luhrmann and his wife and creative partner, Catherine Martin. The British Pullman is composed of restored 1920s and 1930s carriages, maintaining classic Art Deco interiors. It runs seasonally, taking guests on excursions to Oxford, Canterbury, and Bath. This is not the train’s first collaboration with a filmmaker. The British Pullman also features the Cygnus carriage, which was designed by Wes Anderson.
Photo by Sam Lort
Guests for the special night boarded at London Victoria station for a champagne reception. They then enjoyed a three-course meal, music, and cocktails, followed by an afterparty at Mark’s Club.
The big event was cohosted by Anna Wintour, and also attended by Roger Federer, Tom Ford, Stella McCartney, Alexa Chung, Emma Corrin, Mirka Federer, Anna Shaffer, Harry Lambert, Jonathan Yeo, Francesca Hayward, Valene Kane, Julia Hobbs, Tish Weinstock, and Cesar Corrales.
Ashley has been lending her sparkle to red carpet events the past few months, as The Devil Wears Prada 2 has rolled out across Europe and the U.S. But her look at the Met Gala on May 4 was especially jaw-dropping. The star wore a draped chain gown from Stella McCartney.
She accessorized with diamond earrings and bracelets from De Beers and a pair of silver Stuart Weitzman heels. In an interview with Vogue UK earlier this year, she shared, “The older I get, the more confident I feel. I’m loving a ’90s vibe at the moment—it makes me feel so chic.”
Photograph by Colin Dodgson, styled by Sara Moonves
In order to achieve a convincing, long-lasting self-tan, you’ve got to get the tone right. The best formulas today are designed to read like real skin: slightly golden, never flat, and free of that telltale orange cast. They blend seamlessly, develop evenly, and wear down in a way that looks more like a gradual fade than a patchy disappearance.
From airy mousses that deliver color overnight to slow-build lotions that double as daily hydration, there’s a formula for every routine and comfort level. The standout picks ahead are the ones that strike that sweet spot—natural-looking, low-maintenance, and able to hold their glow for days without turning streaky or dry.
If you’re seeking a tan that looks like it came from good lighting, not a bottle, this mist makes the process almost too easy. Sugared + Bronzed’s Sunless Tanning Water goes on completely clear and weightless, so there’s no guide color to navigate, and no risk of transfer while it develops. Instead, you’re left with a sheer, believable warmth that builds subtly and never tips into orange territory.
Mist it onto bare skin as part of your skincare prep or layer it over makeup for a subtle boost of warmth throughout the day. The ultralight texture means it won’t disturb what’s underneath, and because the color builds gradually, you can control the depth without ever overdoing it.
If you prefer a tan that quietly builds in the background, this is the kind of formula you’ll reach for daily. Lux Unfiltered is a gradual tanning lotion that doubles as a true body moisturizer, delivering a soft, believable warmth while smoothing and hydrating the skin at the same time. It goes on like your favorite lotion—no learning curve, no streak anxiety—and develops into an even, lit-from-within flush.
The real payoff is in the texture. Because it’s rich and conditioning, it helps blur dryness and uneven tone, which is exactly why the color ends up looking more natural and less “placed” on the skin. You can apply it like you would any body cream, building depth over a few days or maintaining an existing tan without having to start from scratch.
Achieve that deeper, just-back-from-vacation bronze (without it looking heavy or obvious) via this luxe mousse. It has a light whipped texture that glides over the skin and blends out effortlessly, making it perfect for tanning newbies. The product develops over a few hours into a warm golden tone that looks rich, but is never muddy or overly intense. What sets Iconic London’s Prep Set Tan Mousse apart is the finish. Instead of drying down flat, it leaves skin looking subtly radiant, almost like there’s a built-in glow beneath the color. That added dimension keeps the tan from looking one-note and helps it read more like real, healthy skin.
For a tan that feels more like skincare than self-tanner, this is the one to keep on rotation. Endless Summer is designed as a true daily moisturizer first, with a subtle, buildable tint that develops over time. It melts into the skin like a body cream, delivering that soft sunlit warmth that looks completely natural. You can use it daily to build depth or maintain an existing tan, and because the payoff is so controlled, it’s nearly impossible to overdo. The result is that understated “I’ve been in the sun a little” vibe: polished, hydrated, and easy to keep up.
Bali Body’s Self Tanning Body Milk has a fluid, milky texture that melts into the skin like a lightweight lotion, making it easy to spread evenly without the usual streak stress. Your tan will be deep, but it’ll still look soft and natural—plus, this product is packed with hyaluronic acid (to pull in moisture for a smoother and more even finish) and ceramides to help lock that hydration in.
Luna Bronze’s Glow Tanning Moisturizer builds color over a few days, giving you full control over the depth; you can stop at the slightest hint of warmth or layer it up for a more noticeable tan without ever overshooting. That gradual payoff is exactly why it works so well for fair complexions. Instead of depositing too much color at once, it adds a sheer, believable tint that enhances your natural tone. It’s also ideal as a maintenance product—something you can use in between self-tanning sessions to top up your color and extend how long your tan lasts without having to perform a full reapplication.
Looking for color on a deadline? This one actually delivers. Loving Tan’s Two-Hour Express Self-Tanning Lotion is made for those last-minute moments when you can’t wait overnight. You apply, let it develop for a couple of hours, rinse, and you’re left with a warm, even bronze that continues deepening.
What makes it feel more controlled than other express formulas is the lotion texture. It gives you more glide and playtime during application, so you can really work it into the skin and avoid patchiness. There’s also a visible tint as you apply, which helps map everything out and ensures you don’t miss spots—especially in trickier areas like elbows and knees.
If you want your self-tanner to feel invisible in your routine, this is the elevated version. Dior Solar’s Self-Tanning Drops are designed to be mixed directly into your moisturizer or serum, so you’re essentially turning your existing skincare into a custom self-tanner. The result is a gilded sheen that looks fully integrated, not sitting on top of your skin.
The beauty is in how adjustable it is. You control the depth by the number of drops you use, making it just as ideal for a sheer hint of warmth as it is for building a more noticeable bronze over a few days. Because it’s diluted into your skincare, the color develops evenly across the face and fades in a way that looks soft and natural.
Rihanna and A$AP Rocky are still making a fashion splash in New York a week after the 2026 Met Gala. This time, they modeled their coordinated couple’s look for Mother’s Day, enjoying a dinner at Italian restaurant Cucina Alba, per TMZ.
The Fenty Beauty founder was almost entirely in black, with a buttoned blazer over a lace bustier and a loose pair of wide-legged black pants. Her accessories added a touch of color and texture, with white and gray snakeskin pumps, a small beige Chanel purse on gold hardware, and a large burgundy handbag. She had on a gold pendant, gold chain, and oversize red-tinted sunglasses.
@markredstudios / BACKGRID
Not to be outdone, Rocky wore a red-lined suede trench and red oval sunglasses. Underneath, the edges of a black button-down shirt could be seen at the cuffs. He wore the statement coat with denim jeans, black boots, and a brown leather handbag.
@markredstudios / BACKGRID
For the Met Gala last Monday, Rihanna wore a sparkling silver custom Maison Margiela gown with custom Jennifer Behr metallic curls, celebrating the “Fashion Is Art” theme. The rapper wore a pink Chanel suit with black piping.
Udo Salters/Patrick McMullan/Getty Images
Rocky and Rihanna share three children, RZA Athelston Mayers born in May 2022, Riot Rose Mayers welcomed in August 2023, and their youngest, Rocki Irish Mayers, who arrived only eight months ago in September 2025. The couple actually announced their third pregnancy at the 2025 Met Gala one year ago.
Not even a year old yet, little Rocki recently made her magazine debut on the cover of W in a costume couture Dior diaper.
“She has changed a lot because she became a mother in that time span, and that certainly changes you,” Rocky told the magazine about how his partner has changed since they first met. “But this woman has always been magic.”
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