The Cannes Film Festival It is not only a temple of author cinema, but also a ritual of international fashion. Yet, a few hours after its beginning, the 2025 edition is already marked by an unexpected turn: the introduction of a new Dress code that prohibits transparencies and nudity on the red carpet. No announcement well in advance, no public debate, because the news came yesterday, leaving – without a doubt – stylist, maison and celebrity in organizational chaos.
It is the end of the bold cut-outs, nude dress or any other element that may be “inappropriate” according to the criteria of the organization. A conservative turning point Which leaves perplexed, for the timing but not only: the Cannes Red Carpet has always been one of the free and most discussed spaces, where fashion has been able to explore and dare. The first to challenge the institutional aura of the Croisette was Ilona Staller in 1988 With a white dress that left very little room for the imagination, equipped even by combined stockings.
Over the years, then we have witnessed more or less oblivious interpretations of the I see, I don’t see, by the blazer signed Jean-Paul Gaultier with Victoria Abril’s “Surprise cut” in 1997 to the most recent sculptural top of Bella Hadid with Schiaparelli dress in 2021, in which a trompe-the golden of Daniel Roseberry only ideally covered the breast.
The skin, in Cannes, has never been just epidermis. It is a projection surface, a tension field between aesthetic and media exposure, and this sudden imposition of modesty seems to hit one of the spaces in which fashion could still claim its creativity without brakes. Family stylists work on Cannes’s looks for months, sometimes with Multiple fitting and architect pieces Book very well in advance: each dress is the result of very thin balances between Maison, artistic direction, sponsors, visual narrative and stage presence. A neckline, a cut on the side, a game of strategic transparency can represent the stylistic figure of an entire apparition. And now? With a rule set in extremis, many outfits risk jumping. The couriers are in flight, the ateliers already work at the next international appearances, and not all brands have ideal alternatives ready to be sent. Some may resort to last minute seams, to underestimates added quickly, to jewels designed not only as a decoration.
That of “nudity” However, it is not the only new rule Under the Cannes spotlight: Stop also to sneakers and selfies. However, probably following the repeated positions – and comfort – of the stars over the years, the low shoes will be accepted on the red carpet from this year, provided they are elegant. After all, the better that an actress barely: Julia Roberts and Kristen Stewart were Paladine, as if to emphasize that the rules of elegance are not written on marble, but on sand. With regard to style restrictions, however, the risk is that the legislation turns into short circuit.
The Cannes Film Festival is an institutional event, but it is also true that it has always lived in its aura of irreverent glamorof his being at the same time sophisticated and talked about. Taking space to aesthetic experimentation could compromise precisely that magic that makes it so observed from all over the world. The ban on nudity and transparencies could, paradoxically, Open the door to new forms of breakage: Because if the skin cannot be shown, then the provocation could move elsewhere, in volumes, in the materials, in the silhouettes. Or, there are those who decide deliberately to break the rule And not be admitted on the red carpet, attracting the shots of other photographers outside the Palazzo dei Congressi. A dangerous but highly symbolic game, because every ban, in fashion, is also a invitation to transgression.
Without a solution of continuity, the slit that combines the oblique neckline of the Iranian model Farnoush Hamidian model. A depth that makes Belen’s butterfly pale. But will the real elegance be in climbing the limits, or rather in touching them with malice?
Source: Vanity Fair
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