The Cannes Film Festival has updated its dress code guidelines, introducing stricter rules that have reignited conversations around how women’s bodies are monitored and controlled in public spaces. According to Stylist journalist Shahed Ezaydi, the latest regulations are a stark reminder of the sexist standards still governing how women are expected to present themselves.
The festival’s website now states that “nudity is prohibited on the red carpet, as well as any other area of the festival,” with organisers citing “decency reasons” behind the decision. Additionally, outfits with “voluminous trains” are now banned for practical reasons. While long dresses are encouraged, alternatives such as a “little black dress,” cocktail attire, dark-coloured pantsuits, or a dressy top with black trousers are also deemed acceptable.
The timing of this change—announced just 24 hours before the festival’s commencement—appears to be a direct response to last year’s red carpet, which was dominated by the sheer dress trend. Notable examples include Bella Hadid’s translucent Saint Laurent gown and Naomi Campbell’s mesh-cut Chanel dress. Despite this context, the updated dress code fails to clearly define what constitutes “nudity.” The ambiguity leaves many wondering: are low-cut, sleeveless, or mini dresses considered indecent under these new rules?
Ezaydi points out that such measures only serve to reinforce outdated efforts to control how women present themselves, drawing attention to the hypocrisy of these standards. While the female body is deemed inappropriate on the red carpet, it remains commodified in the very films the festival celebrates. Sex scenes, scantily-clad characters, and the persistent male gaze are still rampant in cinema—highlighting a contradiction in how female nudity is perceived depending on its context.
The broader double standard becomes even more pronounced when considered against France’s hijab laws, which prohibit Muslim women from covering their heads in several public settings. Women who dress modestly for religious reasons face restrictions, while women who reveal too much skin are branded “indecent.” In both cases, the message is clear: women are not free to choose how to dress without facing judgment or penalty.
Historically, Cannes has enforced similarly controversial rules. The festival once mandated high heels for female attendees on the red carpet. This rule drew backlash from celebrities, many of whom protested in silent defiance. In 2016, Julia Roberts walked the carpet barefoot. Two years later, Kristen Stewart removed her heels at the premiere of Spike Lee’s BlacKkKlansman. In 2023, Cate Blanchett followed suit, not only to oppose the dress code but also to stand in solidarity with Iranian women.
Despite the strides made by feminism, Ezaydi argues that society continues to impose unrealistic beauty standards that women are expected to meet. The expectations are rarely imposed on men, who are largely exempt from the scrutiny women face over their bodies, attire, and presentation. The journalist references America Ferrera’s monologue in Barbie, which powerfully captures the contradictions women must navigate daily—be thin but not too thin, assertive but not bossy, maternal but career-driven.
Ezaydi concludes that these societal pressures are not just frustrating—they’re exhausting. Women are constantly balancing conflicting expectations in order to simply exist in public spaces with confidence. When institutions like the Cannes Film Festival enforce dress codes that further complicate these choices, they intensify the burden on women rather than easing it.
In essence, the updated Cannes dress code is seen by many as another layer in a long history of attempts to regulate and restrict women’s autonomy over their own appearance—a troubling reminder that, even in 2025, progress remains incomplete.
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