Like clockwork, every May the seaside quaint-scape of Cannes metamorphoses into a cocoon of glamour for easily one of the foremost keynote events in the global calendar, celebrating of course films — but also fashion, and with the same intensity.

The Cannes red carpet has for decades now, represented a heady mixture of these two interpretations of art. But cinema purists for much of this formidable time span, have held the red carpet guilty of allowing fashion more space than necessary, so much so that it perceptively seems to have overtaken the core vision of the Festival de Cannes — celebrating cinematic excellence.

With a brand new set of rather restrictive red carpet dress code rules having been shared by the organisers, less than 24 hours before the Cannes 2025 debut day-of, it feels important to trace the history of the festival, which since its very inception, has actually honoured both sides of the films versus fashion conundrum.

It’s just that being red carpet-ready made for a much humbler picture back in the day, but if anything, the Cannes celebration of cinema has always harboured a space and preference for a heavier hand of fashion, something that has undeniably cemented its very exclusive, show-stopping aura as the years have rolled on.

Whether it was Brigitte Bardot in 1953 with her feathery shawl and satin gloves, Sophia Loren in a lace sweetheart gown in 1955, Elizabeth Taylor’s jeweled tiara in 1957, or Catherine Deneuve’s navy-and-white sequined stripes in 1966, the early icons of the Cannes red carpet consistently elevated the standards of style.

This era of extravagant ballgowns eventually gave way to a more refined approach, solidifying Cannes as a premier fashion spectacle alongside its cinematic prestige. Over time, haute couture gowns came to dominate the red carpet, and by the 2010s, the idea of something being ‘too much’ for Cannes was simply a non-concept.

Adding further dimension to the films-versus-fashion debate, are the silent group of Cannes attendees – the bourgeoning list of brands who dress celebrities for their red carpet stride — jewellery giant Chopard, is a glistening example. It has been hosting a black tie party at the famed Hotel Martinez every year since 2007, to display its red carpet high jewellery collection, targeted at hefty names who may wear them to the Palais steps.

The business of fashion and cinema overlapping, also demonstrates merit in the subtle trend of luxury giants venturing into film production — Swarovski and Yves Saint Laurent have been there done that.

The intelligentsia, literal or self-proclaimed, may not consider fashion to be a worthy-enough weight, warranting a parallel celebration as hefty as that of cinema. But here’s some food for thought: Gianni Versace famously said, “When a star wears a dress, a little of the stardust rubs off on us” — and even the purists can’t help but acknowledge that the same rationale applies to the art of marketing cinema, celebratory or all-business.

In fact, it is entirely plausible to argue that it is the stringency of the black tie dress code that has given the eminent list of attendees, year on year, free reign to explore sartorial self-expression against the backdrop of celebrating cinema. With long trains, risqué cuts and overall experimental silhouettes basically being labelled a no-go for the Cannes red carpet, it will be interesting to witness how the Cannes fashion legacy manages to keep itself afloat this year.