There is something about the Cannes film festival that sets it apart from other star-studded events. The Baftas and the Oscars are all very good – but they take place in the freezing cold in February and March.
Cannes, on the basis of timing and location, is a much softer matter – which could perhaps explain the fact that, sartorially, it is more inclined to be more relaxed.
And why not, when there is a super yacht in the harbor and the beach bar in Eden Roc is open all day? Indeed, some of the looks may seem little more than glorified bikinis.
Inspiration flash: Nicole determines the style of what is believed as Galliano
Actress Salma Hayek (left) in 2010 and pop singer Rita Ora in 2015 (right) step onto the catwalk at the film festival
Bella Hadid depicted in a revealing Alexandre Vauthier outfit in 2016 (left) and the Czech model Petra Nemcova with a Cella Kritharioti at the festival this year
Last year's festival was remarkable for the frontless floral dress by Amber Heard and the ceaseless breasts of Kendall Jenner. This year's striking trend seems to be lace and flowers, with actress Elle Fanning who looked cute in what at first glance might have been thought of by her great aunt's bloomers, but who, it turned out, was Valentino couture.
But there is a challenging Cannes favorite that never goes out of fashion: red.
The color of danger, passion and revolution, a shadow that communicates courage and a sense of adventure, that fascinates and inspires, that stands out.
Wearing uncompromising, unmistakable and unambiguous, wearing crimson on the red carpet in Cannes is an exciting, sexy, subversive – and a sure way to get noticed.
As a film festival, Cannes has always been part of scene-staring stars. It was after all where Brigitte Bardot first made fame, enchanting photographers on the beach in an off-the-shoulder red top.
Aircraft display: Josephine Skriver in a gown-like Pamelia Roland dress earlier this week
Irina Shayk wears a red Roberto Cavall dress in 2012 (left) and Alessandra Ambrosio wears a red dress by Julien Macdonald during the festival this year
More than half a century later, the Bardot top still survives, a flirtatious fashion favorite. But while the color remains constant, the dresses are increasingly becoming one of the blink-and-you-miss-them varieties.
Now, only those who defy a scarlet gown cut in the air can be sure that she's watching the world.
It was none other than Nicole Kidman, more than 20 years ago, at the point of the global superstardom, who took the red carpet from Cannes to become new highs when she dared to wear a flamenco-inspired flame red song, that cut to the thigh.
The year was 1995 and the festival was dominated by worthy & # 39; movies d & # 39; author & # 39; – Bernardo Bertolucci, Lars Von Trier, the Coen Brothers and Mike Leigh were in competition. Although fairly modest by current standards, Kidman's flamboyant look was a striking part of the diva inspiration, a cheap but effective sensation in a sea of seriousness.
Lingerie model Rosie Huntington-Whiteley (left) and Kate Moss (right) at the Cannes 2016 film festival
Since then, everyone from Sharon Stone to Ines de La Fressange – via Kate Moss, Rosie Huntington-Whiteley, Salma Hayek, Rita Ora and more – has realized that cut-away crimson is the fastest and most effective way to steal the show . Indeed, the scarlet women of Cannes have built up a decent reputation over the past twenty years.
Perhaps the most memorable in recent years was Bella Hadid, whose 2016 silent satin number was terribly wrong on the red carpet, leaving nothing to the imagination.
Although it may not have produced much in the field of physical reporting, it has certainly achieved the desired effect on publicity, placing the carrier on the front pages of the world.
Slashed to the waist, split to the thigh, challenging reveal-all cuts and shapes, barely-there chiffons and thigh-neck lines – sometimes these dresses seem held together by little more than a few pieces of titretape and thread, if not substantial and transient in nature as a day fly.
It is also very Cannes, very continental. In colder climates, red can sometimes appear slow and brash, more traffic light than traffic-stopping.
But in Cannes – with that beautiful southern France light, the scent of warm pines in the air – it gets an atmosphere of languid sophistication. Just like a good Pina Colada, it really works when it works.
There are of course exceptions. Witness the downright irreparable, fake Versace safety pin dress in red pillar box as worn by Praya Lundberg during the Rocketman screening. And the scarlet chiffon number by Alessandra Ambrosio turned out to be too big a challenge for her, ruthless as well as impractical.
Still it got our attention, didn't it? And that is the only thing that matters at the end of the day.
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