2025 Cannes Film Festival Premieres: Menswear Edition
Here is a look at the notable menswear premiere looks from last week from Cannes Film Festival.
Closing Ceremony
Jeremy Strong’s Cannes colour wheel ended on a high with his final custom Lanvin look in a bold bright blue. There’s plenty to admire here—from the vibrant hue and the sharp fit to the strong sense of self-expression—but it’s the satin details, especially the bow tie shirt, that really seal it for me. That said, I definitely preferred the look without the Jacques Marie Mage sunglasses once he stepped inside the venue.
Adam Lambert was impossible to overlook, even in all black, thanks to the rich textures and playful details of his ensemble. A velvet Balmain jacket, McQueen trousers, a polka dot Dolce & Gabbana satin shirt, and a floral Nina Ricci brooch? A minimalist moment for the maximalist.
The History of Sound
Alessandro Borghi had a moment, and it was a Valentino one. We often talk about Alessandro Michele’s embellishment-heavy aesthetic, but this look reminded us that the man can tailor. The ivory double-breasted jacket paired with flared black trousers gave retro glamour. The black and ivory polka-dot ribbon tie was a soft whisper of Michele’s signature romanticism—subtle, whimsical, and utterly charming. Borghi looked every inch the cinematic leading man.
Francisco Lachowski’s Berluti suit shouldn’t have worked. I’ve never been big on white jackets with midnight blue trousers – it often reads as cruise ship captain cosplay. But the cut, the quality of fabric, and the styling with the AKILLIS sapphire and diamond brooch was a subtle showstopper, sold this to me in a way I wasn’t expecting.
Die, My Love
Robert Pattinson showed why Dior Men’s by Kim Jones continues to be a red carpet safe haven. The black wool shawl collar tuxedo was classic, refined, and hit all the right notes. It didn’t try too hard, because it didn’t need to.
The Phoenician Scheme
Benedict Cumberbatch stuck to the classics with a Prada tuxedo. While he opted for a patterned sling for the photocall, on this occasion a black silk sling detail melted seamlessly into the suit and was held together by a custom Prada brooch.
Riz Ahmed, ever the style chameleon, walked the line between timeless and modern in a grey Prada suit with a cropped jacket. He has the presence to make that jacket length work, and it gave just enough edge without feeling like a valet.
It’s been a while since I liked a Patrick Schwarzenegger red carpet look—and judging by the fit of this suit, it looks like I’ll be waiting a little longer.
Highest 2 Lowest
Spike Lee did Spike Lee – bright orange and blue zoot suit, Air Jordans, Knicks loyalty on full display. It’s a lot, but it’s authentic to him.
Kyler Gordon brought some balance back with a Berluti tuxedo that oozed classic sophistication. Midnight blue mohair, satin details, and glossy Venezia leather shoes – this was red carpet menswear done so elegantly.
Argentine football player Paulo Dybala in Fendi gave us another classic cut, finished with a proper tie instead of a bow tie. It wasn’t groundbreaking, but it was clean and effective.
Nouvelle Vague
Lucien Laviscount was hard to miss in his Dolce & Gabbana double-breasted suit embroidered with gold filigrana and he has the swagger to carry it off.
Colours of Time
You probably don’t need me to tell you that Vassili Schneider’s suit is from the Saint Laurent Spring 2025 collection—the hallmarks are unmistakable: the sharp power shoulders, the double-breasted silhouette, the striped tie, and that rich taupe hue.
Alpha
Oversized tailoring isn’t for the faint of heart, but Finnegan Oldfield nailed it in grey Dior by Kim Jones. The proportions were considered, the black shirt added contrast, and the black leather Carlo derbies grounded the look. A masterclass in volume done right.
Mission Impossible – The Final Reckoning
Tramell Tillman delivered something quietly dashing in a Dolce & Gabbana grey double-breasted tuxedo with black satin trim. It felt modern and suave.
All in all, Cannes menswear looks were very strong.
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