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Dressing a star agent for an awards season or movie media tour requires careful planning. But dressing a star for the Cannes Film Festival is a next-level challenge — especially if that star is one of the jury members who has to navigate every day at the world’s most prestigious cinema show.
Just ask Maryam Melekpour. She signed on to be Halle Berry’s stylist right before the 2025 festival, which meant she had to hit the ground running. As a juror, Perry appeared at multiple events throughout the festival, from the first day’s jury photo session and the opening ceremony – each requiring separate looks – through to the closing ceremony 12 days later.
Concert affairs between them included high-powered premieres of Mission: Impossible – The Final Reckoning and Phoenician plan And the wonderful dinners hosted by Chopard and L’Oréal Paris and the Kering Women in Motion Awards. Malakpour’s final designer list for Berry included day and evening looks from Chanel, Dior, Jacquemus, Elie Saab, Alexandre Vauthier and Gucci.
Throwing in a few curveballs, like a last-minute switch due to a recent Cannes match rule banning voluminous gowns with trains on the Croisette, Malakpour’s innovative curation of Perry’s look was nothing short of impressive. That’s why Hollywood Reporter I knew the star stylist was perfect for not only asking about her memories of that hour-long stint but also suggesting style and packing tips for anyone planning a trip to the south of France for this year’s event.
How much time do you need to plan for Cannes, especially when designing clothes for someone on the jury?
It’s difficult to say how much time you generally need to plan Cannes. I started prep just less than a month after my scheduled travel date to Nice, which seemed pretty packed. As soon as I got the call, I started. Even though the final schedule was not ready, we had to prepare ourselves and be ready for anything. None of us really knew how big and strict the schedule was. In the final schedule, we had approximately 10 main looks for dresses or occasions, and about the same amount of daytime looks and photo shoots.
Aside from the multi-day aspect of the festival, how is Cannes different stylistically compared to, say, planning awards season?
There is something about traveling and being in a foreign country, adapting to the environment and culture, that makes a huge difference.
How does location play into your planning?
Location plays a major role, as it affects not only aesthetics but also attitude and mood. From the moment we started preparing, the conversation and our goal were clear: we would embrace everything we love that is French, especially from the south of France. We’ve featured some of fashion’s most recognizable icons, like Jane Birkin and Brigitte Bardot. We even had a French playlist in all of our setups to set the mood. Our sole goal was to reinvent and recreate the ultimate effortless style with great confidence, poise, and an all-in-one look, from the French bob to the more elegant and unpredictable looks.
Is the magic of southern France different from the magic of Hollywood, and if so, how?
The magic of southern France is different from the magic of Hollywood, mainly because they come from very different cultural roots. For the south of France, the atmosphere is simple, sunlit, and the colors are more neutral and breezy. [with] Oversized sunglasses, slightly messy hair, soft glamour, and glowing skin. There is a mood of nostalgia for “Je ne sais quoi”, i.e. sophistication and confidence. It’s the kind of magic where a slightly imperfect appearance adds to the appeal.
A great example of this is Halle Berry’s opening look in a sleeveless black and cream striped dress designed by Jacquemus. Hollywood looks are more dramatic: bold colors, sculpted silhouettes, elegant gowns, gorgeous makeup and perfect hair.
The looks for a daytime photo shoot are of course radically different from the evening carpets on the Croisette – how did you approach this dual strategy with Halle’s looks?
We approached the festival with a clear strategy: research every venue and event in advance so we fully understood the venue, lighting and tone. Each look was then developed in direct response to that context. What works on the steps during the Cannes Film Festival is very different from what might read well at a private dinner along La Croisette.
While editing, we were always thinking ahead and strategizing around key moments: the opening and closing ceremonies as well as the film’s premieres – all under full daylight. Unlike the controlled lighting of a Hollywood carpet, full sun requires precision and simplicity. Everything should be precise but never feel over-designed.
Did you and Haley have a conversation beforehand about what you were thinking about style-wise and how to navigate the many events between day and evening?
The goal was always to keep the look light, breathable, and not forced. For example, one of the day’s events was a luncheon held in the gardens of the La Castre Museum. The setting called for something polished yet relaxed, in tune with the ease of La Croisette. We chose a mint green jacquard midi dress from Gucci, tailored at the waist and fitted with a slim belt in the same fabric. The look stayed true to that easy daytime elegance: beige mules to elongate the silhouette, balanced with a burgundy shoulder bag for a subtle pop of color, with a silk scarf tied at the belt for movement and softness. And of course, oversized sunglasses – essential, not just as an accessory, but as part of the attitude.
Which of her looks from last year’s festival was your particular favorite?
My favorite look was this Chanel Haute Couture Spring 2025 beaded and organza floral suit for her movie premiere Phoenician plan. I loved this look because it looked funky and unexpected. He challenged the hard-line red carpet critics who are accustomed to and expect the same. They were confused by it and said it was like a breath of fresh air on the Riviera and that it wasn’t doing enough. They expected a girl like Halle Berry to come in a sexy, bright dress, which is what we deliberately stayed away from.
What advice do you have for anyone planning to attend the festival this year?
My advice is simple: elegant elegance with an artistic point of view. This keeps it from feeling predictable, always with a subtle touch.
Are there any trends we’ve seen from the latest fashion shows that you think will play out? A role in the festival this year?
This is nothing new, but we’ve seen a lot of sheer fabrics – chiffon, lace, organza – in nude tones and subtle pastels; Mint green and dusty rose are everywhere across the Spring/Summer 2026 collections.
What collections or looks from recent collections do you feel are particularly appropriate for Cannes?
millimeterMy favorites are: Tom Ford Resort 2026 designed by Haider Ackermann. It is elegant and elegant, with fine stitching. Matthew Blazy’s Chanel 2026 Haute Couture collection, with airy layers, dimension, dream-like colors and a kind of serene narrative. And Celia Kritharioti’s 2026 haute couture design, which has been on my radar since last year. I love her clean, elongated and sculpted dresses.
What’s your advice for smart packaging, for both clothing and accessories, so someone doesn’t overdo it and then only wear a small percentage of what they brought?
I’ve found it’s definitely better to use lightweight hard cases. I always use external luggage, as it is lightweight and very spacious. I especially like the stem for accessories. I also think it’s important to put the whole outfit together, so it’s very clear what goes together to avoid any confusion or accidental repeat wearing.
Are there any fashion or accessory “must-haves” you recommend to ensure Cannes fashion success?
The perfect edit is full of variety that transitions effortlessly from day to evening — apart from the red carpet, of course. Think linen or silk suits, a crisp white shirt with high-waisted trousers, or simple but perfect dresses, like a slip dress. Preferred Designations: Grade for ultimate power. Loro Piana, luxurious and full of texture; And Jacquemus, to bring an artistic touch to the Riviera.
A variety of sunglasses may be a must-have item, such as oversized black frames, sharp cat eyes, or simple gold-rimmed aviators. My top picks are from Saint Laurent, Celine, and Linda Farrow. Another must-have shoe, and more importantly, is one you can actually walk in. Stylish but stable mid-height or platform heels, flats and elegant sandals for daytime transitions. Finally, the chic, nonchalant piece you must have is a silk scarf tied loosely in your hair, an oversized jacket over a dress and a classic handbag. Adding a good vintage piece is always nice.
Finally, have you prepared anything for yourself in the past year that you would recommend as a great option for someone attending for the first time? Or is there a favorite item that you always put in your carry-on bag, no matter where you’re headed?
I love and highly recommend my classic black dress, midi length with lace around the bust area, from Sabbia Rosa in Paris. It’s great for daytime with sandals or flats and transitions easily into evening with a pair of heels and an ivory satin jacket from Bella Freud in London. Also, something very European: I always pack a lightweight coat to be safe in unpredictable weather.
A pair of new luxury hotels are opening their doors
Ahead of the 79th Cannes Film Festival, two new upscale hotels have opened on France’s sunny Mediterranean shores, tempting guests with upscale accommodations and stunning views. For anyone looking to decompress post-Cannes, consider any of these nifty loopholes.
Como le Beauvallon
Saint-Tropez Bay, France
Debuting in 1914, Como Le Beauvallon was one of the original Belle Epoque palaces on the French Riviera, surrounded by private gardens and overlooking the azure waters of the Gulf of Saint-Tropez. The hotel closed in 2008 and was briefly repurposed as a private property available for rentals and events, but after a careful restoration, it has returned as a 100-room resort scheduled to open on April 24.
Two undisputed French creative stars have brought their passion to Como Le Beauvallon: chef and restaurateur Yannick Allénoux, whose restaurant Beauvallon Sur Mer offers an Asian-meets-Mediterranean menu amid pristine beach views, and interior designer Dorothée Delaye, who has brought back much of the elegance of the original resort.
Zanier il de Bendor
Bandol, France
Opening on May 1, this newest resort in the Zannier family of hotels is located on Île de Bendor, a luxurious private island near Bandol on the Provençal coast. Getting to Cannes from Bandol takes just under two hours by car, but it only takes 45 minutes via one of the area’s many private helicopter services that can transport guests from the film festival to points further afield.
Originally designed in the 1950s as a magnet for stars and artists, the 93-room resort has undergone a five-year restoration and been reimagined as a rustic retreat that meets the sophistication of wellness, sustainability and Provençal charm.
This story appears in Hollywood Reporter 2026 travel issue. Click here to read more.
