• Demi Moore is serving on the jury at the 79th Cannes Film Festival, which runs May 12–23 in France.
• She made her red carpet entrance in a strapless sequin Jacquemus gown, completing the look with Chopard diamonds.
• A polka dot Jacquemus dress at the jury photocall drew equal attention — and a lot of fan love.
• Jury president Park Chan-wook leads a panel that also includes Stellan Skarsgård, Ruth Negga, and Chloé Zhao.
• Star-studded films including Scarlett Johansson’s Paper Tigers and Sebastian Stan’s Fjord are competing for the Palme d’Or.

Demi Moore arrived at the 2026 Cannes Film Festival like she had something to prove — and honestly, two looks in and she’s already winning the week.

The 63-year-old actress touched down in Nice on Monday, May 11, ahead of the festival’s opening ceremony, and by Tuesday she had already delivered not one but two jaw-dropping outfits. Both from Jacquemus. Both completely different. Both completely her.

For opening night, Moore stepped onto the iconic staircase in front of the Palais des Festivals in a strapless, sequin Jacquemus gown that showed off her toned arms and commanded the room. She finished the look with a stunning Chopard diamond necklace and delicate floral-shaped earrings — the kind of red carpet moment that gets screenshotted and saved.

Her stylist Brad Goreski gave fans a behind-the-scenes peek at the ensemble in a joint Instagram video, and the comments section lit up fast. Actress Rita Wilson was among the first to weigh in. “Maybe one of my most favorites dresses on you,” she wrote. Fans piled on: “So stunning and it fits like a glove,” one gushed. “Insane! I am so set for your Cannes moments!” shared another.

Not everyone kept it purely celebratory. Some commenters expressed concern, calling Moore’s frame “extremely thin” and urging her to prioritize her health. “I’ve been a big fan of yours for years, Demi, and I say with the utmost compassion that I hope you take care of your health,” one user wrote. “A lot of people care about you.” It’s a conversation that’s followed Moore since her appearance at the SAG Awards back in March, and one she’s navigated with grace — at least publicly.

The Polka Dot Moment Everyone’s Talking About

If the sequin gown was the dramatic opening act, Tuesday morning’s jury photocall was the playful encore.

Moore showed up to the Palais des Festivals in a strapless polka dot dress — also Jacquemus, from the brand’s Fall/Winter 2026 collection first shown at the Musée National Picasso in January. The dress features a cream base scattered with multicolored dots in red, blue, yellow, and black, a structured bodice, and a voluminous tulip-shaped skirt that hits just above the knee. She paired it with a matching polka dot bag, crisp white cat-eye sunglasses, and white pumps, all from the same French fashion house.

The effect was pure confetti — festive, retro, and a little bit cheeky. For a festival that celebrates cinema with that level of reverence, it was exactly the kind of energy the moment called for.

At a press conference ahead of the festival, Moore got candid about what it means to be here in this role. “My first thought is ‘Me?'” she said with a laugh. “I had such a beautiful experience here a few years ago, and one, just to be surrounded by cinema and the love of cinema, and the joy of diving in and being surrounded by those who share that, just felt like a joy… I feel tremendously honored and super excited. I feel like a little kid playing a grown up.”

It’s a full-circle moment. Moore first came to Cannes in 2024 with Coralie Fargeat’s The Substance, the body-horror film that went on to win Best Screenplay at the festival and ultimately earned Moore a Golden Globe for Best Actress. Now she’s back — not as a competitor, but as one of the people deciding who wins.

She’s joined on the jury by writer-director Park Chan-wook, who serves as jury president, along with actors Stellan Skarsgård, Ruth Negga, and Isaach de Bankolé, plus filmmaker Chloé Zhao, director Laura Wandel, writer Paul Laverty, and director Diego Céspedes. Together, they’ll screen every film in competition before the festival wraps on May 23.

Who Else Is in Cannes This Year

Moore isn’t the only one making an entrance. Heidi Klum, a Cannes red carpet fixture known for bringing some of fashion’s most theatrical moments to the Croisette, was also spotted arriving in Nice on Monday and will almost certainly be turning heads on the staircase before the week is out.

Elijah Wood flew in with his wife, Mette-Marie Kongsved, ahead of the opening ceremony, where he’ll present an honorary Palme d’Or to Lord of the Rings director Peter Jackson. Sebastian Stan has a film in competition — Fjord, in which he and Renate Reinsve play a couple relocating their family to Norway, set to premiere May 19. And Miles Teller is part of the ensemble behind Paper Tigers, a crime drama starring Scarlett Johansson and Adam Driver that premieres May 16 and is already generating serious buzz for the Palme d’Or.

Nathan Mitchell, fresh off the end of The Boys, is also in attendance, and French actor Lucas Bravo — always a Cannes presence — is expected to pop up at premieres throughout the week.

The 79th Cannes Film Festival runs through May 23. If Moore’s first two days are any indication, the fashion alone is going to be worth watching.

The post Demi Moore Stuns at Cannes 2026 in Jacquemus appeared first on Cream.

• Olivia Rodrigo’s babydoll dress at Spotify’s Billions Club show in Barcelona ignited a wave of online criticism
• Critics claimed the look “infantilizes” the 23-year-old, while fans pushed back hard with historical context
• The silhouette has deep roots in riot grrrl fashion — think Courtney Love and Kat Bjelland in the ’90s
• Rodrigo has been pairing feminine dresses with combat boots since her 2021 debut, making this a signature look
• Researchers have previously flagged bot-driven smear campaigns targeting pop stars like Taylor Swift and Chappell Roan

Olivia Rodrigo wore a floral dress and the internet apparently couldn’t handle it.

The Grammy-winning singer performed at Spotify’s Billions Club Live in Barcelona on May 8 — a concert series celebrating artists whose songs have crossed one billion streams on the platform. Rodrigo had nine songs to celebrate, including “Driver’s License,” “Deja Vu,” “Good 4 U,” and “Vampire.” She took the stage at the Teatro Greco in a white Génération78 babydoll dress — short-sleeved, floral-patterned, skirt hitting well above the thigh — paired with knee-high black leather Dr. Martens boots and barely visible lace bloomers underneath. She rocked out. She crawled around. She performed nine billion-stream songs.

And then the discourse started.

Posts on X and Instagram piled up, with users insisting the look was inappropriate — simultaneously infantilizing and sexualizing the 23-year-old. “She is wearing pink dresses that are similar to what toddlers wear with frilly underwear beneath it,” one X user wrote. “Can Olivia Rodrigo dress like a normal pop star and stop trying to dress up like a toddler?” wrote another. “A grown woman wearing children’s clothes … she keeps giving me the ick,” a third chimed in. One post referencing the Barcelona outfit racked up 21 million views and simply read, “Maybe I’m too woke.”

One particularly viral take grouped Rodrigo alongside Sabrina Carpenter in a side-by-side photo with the caption: “We have to talk about the weird trend of heavily sexualized pop stars dressing themselves as little girls.”

Except — this is not a new look for Rodrigo. Not even close.

The Look Has a History (and It’s a Good One)

The babydoll dress itself has a history that has nothing to do with children’s clothing. The silhouette was developed by lingerie designer Sylvia Pedlar in 1942 as a response to wartime fabric shortages, popularized in the late ’50s by the Carroll Baker film Baby Doll and Spanish designer Cristóbal Balenciaga, and then reclaimed in the ’90s by the grunge and alternative rock world. Courtney Love wore it. Kat Bjelland wore it. It became a defining aesthetic of the riot grrrl movement — hyper-feminine dresses worn in deliberate, provocative contrast to the rage and punk energy these women brought to their music. The whole point was subversion.

Rodrigo has been transparent about these influences. In 2023, she told Rolling Stone that her mom used to wake her up by putting on Babes in Toyland’s Fontanelle — Bjelland’s band. “Rock in that feminine way, that’s just the coolest thing in the world to me,” she said. She’s been pairing feminine dresses with combat boots since she kicked off her career in 2021, and the aesthetic has always been referential — it’s part of what makes her connect across generations of fans.

As she gears up to release her third album, You Seem Pretty Sad for a Girl So In Love, the babydoll has become even more central to her visual identity. She wore a bubblegum-pink floral collared version for the album artwork. She wore a blue, ruffled one for the “Drop Dead” music video. The Barcelona outfit was a continuation of a fully intentional aesthetic — not a wardrobe malfunction, not a lapse in judgment.

Fans who actually know their fashion history said as much. “Olivia Rodrigo has been making a lot of references to the past during this era, and the babydoll is one of them,” one supporter wrote on X. “Although its name may cause confusion, its history, design and purpose are clearly linked to women’s lingerie and have nothing to do with children’s clothing.” Another put it more bluntly: “It’s literally just a babydoll dress, and they conveniently cut off the photo to not show Olivia Rodrigo is wearing knee-high LEATHER boots. Courtney Love was wearing similar [clothes] a decade ago. Predators are the problem, not pop stars.”

Could This Be More Than Just Misogyny?

The anger has a familiar smell to it. Over the past year, GUDEA — a behavioral intelligence startup that tracks viral, reputation-harming claims online — flagged two separate bot-driven smear campaigns targeting Taylor Swift and Chappell Roan. The playbook: fake profiles flood platforms with incendiary posts, creating the illusion of widespread outrage where none organically existed. No confirmed bot campaign has been identified in Rodrigo’s case — but the pattern of the criticism, its intensity, and the sheer weirdness of the takes have people raising an eyebrow.

Or it could simply be what it’s always been. “Putting out music in the age of social media can be really daunting,” Rodrigo told Alanis Morissette in a 2021 Rolling Stone Musicians on Musicians conversation. “I think people hold young women to an incredibly unrealistic standard.”

She said that five years ago. Apparently it still applies.

The post Olivia Rodrigo’s Babydoll Dress Drama, Explained appeared first on Cream.