Romee Strijd’s Couture Fairytale Transforms Cannes into High Fashion Dreamscape

Cannes glowed a little brighter on May 18, 2025, when supermodel and fashion icon Romee Strijd stole the spotlight at the world premiere of Wes Anderson’s The Phoenician Scheme. Arriving at the Grand Théâtre Lumière in a striking cream mermaid gown—its silhouette sculptural and dramatic—Strijd embodied this season’s “romantic maximalism” aesthetic with every curve and ruffle. The strapless bodice, cinched to perfection, swept into a voluminous cascade that seemed to defy gravity—no accessories required, its radiance was unmistakeable.

Inside, The Phoenician Scheme offered Anderson’s trademark whimsy with a darker edge: a tale of oligarchy and decay set post–World War II, starring Benicio del Toro and Mia Threapleton, navigating familial power struggles through lavish, pastel-tinged visuals. Critics noted that beneath its stylistic flair, the film delivered a probing commentary on greed, humility, and broken power structures.

Strijd’s arrival was one moment in a red carpet that managed to push dress code boundaries—despite this year’s restrictions on excessive volume and nudity, many stars elevated elegance with creativity. Naomi Campbell, Halle Berry, Rihanna, and Bella Hadid all made statements that played with the rules while honoring glamor.

But it wasn’t just fashion that defined the evening. The premiere brought together a star-studded ensemble: Alexander Skarsgård in thigh-high boots and satin lapels blurred gender fashion lines; Eva Longoria shimmered in crystal-embellished pink couture; emerging star Mia Threapleton mirrored her mother Kate Winslet’s red carpet debut in verdant Oscar de la Renta.

As flashbulbs popped, Romee stood poised—her wave a study in understated poise among riotous Hollywood glamour. She may not have walked into the film, but on that night, Strijd defined The Phoenician Scheme premiere as much as anything on screen.

With Cannes midway through its run, critics and editors alike hailed her look as one of the season’s defining fashion moments—an ethereal foil to the festival’s bold energy. Was this her most magical moment yet, or a couture nod too whimsical for Cannes’ edgy pulse? Either way, it’s a look that lingers long after the final credits roll.

Cannes Couture & Cinema: A Night of Icons – May 18, 2025

Cannes reached fever pitch on Sunday, May 18, as the 78th Festival rolled into Day 5 with the much‑anticipated world premiere of Wes Anderson’s latest: The Phoenician Scheme. Hosted at the Palais des Festivals, the event brought together Hollywood’s elite—and defined the evening as one memorable for both film and fashion.

A-Listers Arrive for The Phoenician Scheme

Wes Anderson made his characteristic grand entrance, flanked by a constellation of collaborators: Benicio del Toro, Mia Threapleton, Richard Ayoade, Michael Cera, Rupert Friend, Alexandre Desplat, Bill Murray, Benedict Cumberbatch, Riz Ahmed, Charlotte Gainsbourg, and others filled the red carpet with star power. French Culture Minister Rachida Dati also attended, greeting Anderson and crew with European cinematographic solidarity.

Romee Strijd Delivers Red Carpet Fairytale

Among the glimmering arrivals, Romee Strijd stood out in a cream-hued mermaid gown—rumored to be Valentino—its fitted bodice giving way to high-drama ruffles embodying the season’s romantic maximalism. With no accessories needed, she exuded an effortless glow. Camera flashes twinkled as her poised wave sealed the moment as one of Cannes’ defining fashion moments of 2025.

Fashion vs. Rules: The New Dress Code Drama

This year’s festival came with stricter attire regulations—nudity and sweeping trains were officially banned to maintain decorum and guest flow. Yet attendees found creative workarounds. Halle Berry, acting as jury member, was asked to change her outfit last minute due to an overly large train, then dazzled later at the Kering Women in Motion Awards in a sheer crystal-encrusted Gucci number that balanced sparkle with restraint.

Stella Maxwell openly defied the rules in a black lace gown with a long train; simultaneously, Alexander Skarsgård made waves in Saint Laurent thigh-high boots paired with a sharp satin-lapel tuxedo, channeling high fashion subversion—and perfectly aligned with his role in Pillion playing a queer biker gang leader. His boots quickly became Cannes’ boldest male fashion statement.

Cumberbatch’s Sartorial Surprise

Benedict Cumberbatch also turned heads—not for breaking rules, but carrying one. At the premiere, he appeared in a sleek tuxedo accessorized by a black arm sling; the next day at a photocall he wore a polka-dot sling matched to casual separates. Despite speculation, the reason for the slings remains unknown—but they became a talking point in their own right.

In the Film: Whimsy Beneath the Surface

The Phoenician Scheme, premiering in competition, landed positive buzz. Set in the 1950s, it stars Benicio del Toro as oligarch Zsa‑Zsa Korda reconciling with his estranged daughter. Anderson’s visual aesthetic—longtime collaborator Bruno Delbonnel shooting on 35 mm at 1.5:1 ratio—was praised, though some critics found the tone “fussy rather than delightful.” The film averaged a CinemaScore of “B‑” with audience positivity hovering at 81%.

The Broader Day 5 Spectacle

Fashion continued its dominance beyond The Phoenician Scheme. Jennifer Lawrence and Robert Pattinson lit up Cannes just a day later at the premiere of Die, My Love, with J‑Law in a dreamy white Dior gown—earning rave reviews for its elegance and train-length drama—before switching into an edgy ensemble inspired by co-star Pedro Pascal’s tank top later in the evening.

Emma Stone and Austin Butler posed at the photocall for The Eddington, with Stone in a plunging blue gown, Butler impeccable in understated tailoring. And Bono brought lighthearted fun promoting his Apple+ documentary, playfully interacting with media during interviews.