Advice from Halle Berry’s Stylist

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Dressing a star client for awards season or a film’s media tour requires careful planning. But dressing a star for the Cannes Film Festival is a next-level challenge — especially if that star is a juror who must navigate every day of the world’s most prestigious cinema showcase.

Just ask Maryam Malakpour. She signed on to be Halle Berry’s stylist just before the 2025 festival, which meant she had to hit the ground running. As a juror, Berry appeared at multiple events throughout the fest, from the first day’s jury photocall and the opening ceremony — each required separate looks — all the way through to the closing ceremony 12 days later.

Gala affairs in between included high-wattage premieres of Mission: Impossible — The Final Reckoning and The Phoenician Scheme and splashy dinners hosted by Chopard and L’Oreal Paris and the Kering Women in Motion Awards. Malakpour’s final designer roster for Berry included day and evening looks by Chanel, Dior, Jacquemus, Elie Saab, Alexandre Vauthier and Gucci.

Throw in a couple of curveballs, such as last-minute switches because of Cannes’ late-game rule banning voluminous gowns with trains on the Croisette, and Malakpour’s inventive curation of Berry’s looks was nothing less than impressive. That’s why The Hollywood Reporter knew the star stylist was perfect to not only ask about her memories of that round-the-clock assignment but also to suggest style and packing advice for anyone planning to make the trek to the South of France for this year’s event.

How much time do you need to plan for Cannes, especially when dressing someone who’s on the jury?

It is hard to say how much time in general you need to plan for Cannes. I only started the prep less than a month from the scheduled travel date to Nice, which felt pretty full on. As soon as I received the call, I started. Even though the final schedule was not in place, we had to set ourselves up and be ready for anything. None of us really knew how big and rigorous the schedule would become. On the final schedule, we had approximately 10 major gown or event looks and about the same amount of daytime and photo-call looks.

Aside from the multiday aspect of the festival, how does Cannes differ from a style perspective compared with, for example, planning for awards season?

There is something about traveling and being in a foreign country, adapting to the environment and culture, that makes a big difference.

How does the location play into your planning? 

Location plays a major role — it influences not just aesthetics, but attitude and mood. From the moment we started the prep, the conversation and our goal was clear: We are going to embrace everything we love that is French, especially from the South of France. We referenced some of the most memorable style icons, i.e., Jane Birkin and Brigitte Bardot. We even had a French playlist throughout our fittings to set the mood. Our single goal was to reinvent and compose the ultimate effortless style with great confidence and poise, a total look, from the French bob haircut to the most chic and unpredictable looks.

Does South-of-France glamour differ from Hollywood glamour, and if so, how? 

South-of-France glamour and Hollywood glamour are different, mainly because they come from very different cultural roots. For the South of France, the vibe is effortless, sunlit, colors are more neutral, breezy, [with] oversized sunglasses, slightly undone hair, soft glam and glowing skin. There is a nostalgic mood of “Je ne sais quoi,” sophistication and confidence. It’s the kind of glamour where looking slightly imperfect actually adds to the appeal.

A great example is the opening look of Halle Berry in a black and cream striped sleeveless gown by Jacquemus. Hollywood feels more dramatic: bold colors, sculpted silhouettes, statement gowns and full glam makeup and perfect hair.

Looks for the day photo-calls 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: researching each venue and event in advance so we fully understood the setting, the light and the tone. Every 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 reads well at a private dinner along La Croisette.

During the edit, we were constantly thinking ahead and strategizing around the key moments: the opening and closing ceremonies as well as the film premieres — all under full daylight. Unlike the controlled lighting of Hollywood carpets, the full sun demands precision and simplicity. Everything had to be exact yet never feel over-styled. 

Did you have a conversation with Halle in advance about what you both were thinking style-wise and how to navigate the many events between day and evening? 

The goal was always to keep the looks light, breathable and unforced. For example, one of the daytime events was a luncheon held at the gardens of the Musée de la Castre. The setting called for something polished but relaxed, in tune with the ease of La Croisette. We chose a mint green jacquard midi dress by Gucci, tailored at the waist and finished with a self-fabric skinny belt. The look stayed true to that effortless daytime elegance: nude slingback pumps to elongate the silhouette, balanced with a burgundy shoulder bag for a subtle pop of color, finished with a silk foulard tied at the strap 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 were particular favorites of yours? 

My favorite look was the Chanel Spring 2025 Haute Couture pantsuit embroidered with beaded and organza flowers for the premiere of The Phoenician Scheme. I loved this look because it felt unconventional and unexpected. It challenged the hardcore red-carpet critics who are used to and expect the same thing. They were confused by it and said it was just like a breath of fresh Riviera air, and it’s not doing enough. They expected that someone like Halle Berry should arrive in a sparkly, overtly sexy gown, which we deliberately stayed away from. 

What is your style advice for anyone planning on attending the festival this year? 

My advice is simple: chic elegance with an artistic point of view. It is what keeps it from feeling predictable, always with a subtle twist.

Are there any trends we’ve seen from the most recent runways that you believe will play a role in the festival this year? 

This is nothing new, but we did see a lot of sheer fabrics — chiffon, lace, organza — in delicate nudes and pastel colors; mint green, dusty rose everywhere across the Spring/Summer 2026 collections.

Which recent collections or looks from recent collections feel particularly Cannes-friendly to you?

MM: My favorites are: Haider Ackermann’s Tom Ford Resort 2026. It’s chic and elegant, with precise tailoring. Matthieu Blazy’s Chanel 2026 Haute Couture, with airy layers, dreamlike proportions and colors and a kind of quiet storytelling. And Celia Kritharioti’s 2026 Haute Couture, who has been on my radar since last year. I love her clean, elongated, sculpted gowns.

What advice do you have for smart packing, for both clothing and accessories, so someone doesn’t go overboard and then wear only a small percentage of what they’ve brought?

I’ve found that it is definitely best to use lightweight hard cases. I always use Away luggage, as they are minimal weight and very spacious. I love the trunk specifically for accessories. I also think it’s important to pack entire outfits together, so it’s extremely obvious what goes together to avoid any confusion and accidental repeat wear.

Are there any “must-haves” in fashion or accessories that you’d recommend to guarantee style success in Cannes?

The perfect edit is full of versatility that easily transitions from daytime to evening — apart from the red carpet, of course. Think tailored linen or silk suits, a crisp white shirt with high-waisted trousers, or minimal but perfect dresses, i.e., the slip dress. The go-to labels: The Row for ultimate understated power; Loro Piana, luxe and full of texture; and Jacquemus, for a Riviera artistic twist. 

A variety of sunglasses would be a real must-have item, like oversized black frames, a sharp cat -eye or minimal gold-rimmed aviators. My top picks are from Saint Laurent, Celine and Linda Farrow. Another must-have, and most importantly, shoes that you can actually walk in. Elegant but stable mid-height or platform heels, chic flats and sandals for daytime transitions. Lastly, the chic nonchalant piece that you must have is a silk scarf tied loosely in your hair, paired with an oversized blazer thrown over a gown with a vintage clutch. Adding a good vintage piece is always great.

Finally, did you pack anything for yourself last year that you would recommend as a terrific option for someone attending for the first time? Or is there a favorite item you always include in your own suitcase, regardless of where you’re headed? 

I love and highly recommend my vintage black slip dress, mid-length with lace around the decolletage, from Sabbia Rosa in Paris. It’s great for daytime with sandals or flats and easily transitions to evening with a pair of heels and an ivory satin blazer from Bella Freud in London. Also, something that is just very European: I always pack a lightweight trench coat to play it safe in the unpredictable weather.

A Pair of Posh New Hotels Open Their Doors

Ahead of the 79th Cannes Film Festival, two new high-end hotels have opened on France’s sunny Mediterranean shores to tempt guests with sophisticated accommodations and picturesque views. For anyone looking to decompress post-Cannes, consider either of these elegant boltholes.

Como Le Beauvallon
Gulf of Saint-Tropez, France

Originally 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 reinvented as a private estate available for rentals and events, but following a meticulous restoration, it’s back as a 100-room resort set to open April 24.

Two undisputed French creative stars have imbued Como Le Beauvallon with their respective passions: Chef and restaurateur Yannick Alléno, whose Beauvallon Sur Mer offers an Asian-meets-Mediterranean menu amid pristine beach views, and interior designer Dorothée Delaye, who has restored much of the original resort’s refined elegance.

Zannier Île de Bendor
Bandol, France

Opening May 1, this latest resort in the Zannier hotels family is located on Île de Bendor, a luxury private island near Bandol on the Provençal coastline. To reach Cannes from Bandol will take a little less than two hours by car, but it’s only 45 minutes via one of the area’s many private helicopter services that can ferry guests from the film festival to points beyond.

Originally conceived in the 1950s as Riviera hotspot for stars and artists, the 93-room resort underwent a five-year restoration and has been reimagined as a rustic-meets-elevated haven of wellness, sustainability and Provencal charm.

This story appears in The Hollywood Reporter’s 2026 Travel Issue. Click here to read more.