“There’s a whole category of people who miss out by not allowing themselves to be weird enough” — Alain de Botton
That was Botton expounding on the quirks and deviations from predictable behaviour that contribute to the general category of things we describe as ‘fun’. The Cannes Film Festival 2019 red carpet rolled out again this year, and in came the Cinderellas. In tulle creations like loofahs for Cyclops. In gowns with trains that need crews on constant bend-lift-bend-arrange duty as if caught in an episode of Russian Doll, only no one’s dying. Big Bird moments that sometimes take off and many a time don’t. We’re not judging. Cannes is a crowded red carpet; there’s a jury, the stars whose films are premiering, the friends of stars whose films are premiering, brand ambassadors… While there are many ways to draw the attention of the red carpet’s over-stimulated photographers and making it to who-wore-what lists, occupying red carpet yardage has become one of the most oft-used tropes.
When Sophia Loren wore a tulle and lace gown in 1955 at the premiere of The Sign Of Venus, she’d hardly have imagined the echoes that would sound at the venue more than six decades later. But Cannes has been about the mix, the days of photo-calls and stripes-and-wedges resort chic morphing into heavy-duty glamour that showed these were men and women of many talents.
Blake Lively at Cannes Film Festival 2016. Image: Shutterstock
So for every Liz Taylor wearing a tiara, there was a Madonna who shed off her cape to reveal her Jean Paul Gaultier conical bra-and-briefs. Where if a Blake Lively turned to a glittering Atelier Versace to show off her curves (baby bump et al), Carey Mulligan stunned with simplicity in a monochrome Vionnet at the premiere of Inside Llewyn Davis. It’s where that eternal icon of French girl nonchalance, Jane Birkin, made the cane bag a red carpet accessory, and where in 1988, a young in-love Kate Moss proved she needed nothing but an LBD and some Johnny Depp on her arm. Where, just two years ago, wearing a mottled green Alberta Ferretti and sunglasses as if the flashbulbs were proving a bit too much, Susan Sarandon gave the Kar-Jenners some décolletage goals. Where Kristen Stewart honed her inner rebel that would soon say off-with-their-heels, and where the other Bella (Hadid) strutted by in that red hot Alexandre Vauthier.
Kristen Stewart at Cannes Film Festival 2018. Image: Shutterstock
From our shores, Sonam Kapoor Ahuja’s much successful Cannes appearances have been marked by creations from her favourite Anamika Khanna, while Nandita Das did justice to her turn on the Cannes jury with a red handloom sari that had apparently already been in her wardrobe.
Sonam Kapoor Ahuja in Anamika Khanna at Cannes Film Festival 2013. Image: Shutterstock
Coming right on the heels of the Met Gala and its camp theme, of gowns with “no photo please” begging to be clicked and Instagrammed, one yearns for a bit of a palate cleanser; a sorbet after that rib-eye steak. We want to see our stars have fun. To somehow stay aligned with their personal aesthetic and also step out of their comfort zone. To go behind silhouette and palette and, as cliched as it sounds, let the woman shine through. And please, please—don’t be boring. No pressure.
Also read:
All the Bollywood and Hollywood stars seen on the Cannes 2019 red carpet
Deepika Padukone pays a nod to the Met Gala theme at Cannes 2019
What Priyanka Chopra was up to on her first day at Cannes Film Festival
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