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Ihe first time Julia Roberts climbed the steps of the Palais des Festivals, she did it barefoot. It was in 2016 and the previous year, the Croisette was moved because several women had not been able to walk the red carpet for the screening of the film. Carol, by Todd Haynes, on the grounds that they weren’t wearing heels. Not everyone is Julia Roberts.
A Cannes urban legend states that to access the screenings of the Louis-Lumière room, a dress code strict is essential: tuxedo for the men, gala dress and high heels for the women. Officially, it is only a question of ” correct outfit required “, a formula particularly valid for evening screenings – and betraying the age-old complicity between appearance and propriety. During the day, on the beach, for interviews or the photocall, many give in to the quiet charm of Bermuda shorts. However, this was born in a military context.
In Bermuda, a British overseas territory, the English army is hot. Taking a cue from the employees of a tea room, a high-ranking officer has the idea of shortening the trousers of officers above the knee – and embellishing them with knee-high socks and a regimental tie. Thus was born the bermuda, which, during the 20e century, is adopted by all the men of the archipelago, to the point of becoming an element of the local costume.
In the dressing room of the English royal family
In the West, the dress code is different: shorts are reserved for children or sports activities. And wearing shorts in town is sometimes even forbidden by law. The 1960s saw the standards relax: outside working hours, men and women discovered their legs, and Bermuda shorts found a place of choice in the wardrobe of the English royal family. With them, but also with the Kennedys, Bermuda shorts become BCBG or preppy.
In the 1980s, its denim version stood out, giving it a younger and more urban touch. In the John Hughes movie Ferris Bueller’s Crazy Day (1986), three high school students skip school and try to get a table in a fancy restaurant in San Francisco. Dressed in faded gray Bermuda shorts and white boots, Sloane (Mia Sara) catches the disgusted gaze of the French-accented butler who, looking her up and down, mutters: “I cry for the future. » But his aversion is followed by an obsequious respect, Ferris having managed to pass himself off as someone important (“the sausage king of Chicago”). The Sausage King dresses well as he wants.
At the end of Pretty Woman, Vivian (Julia Roberts), a prostitute hired for a few days by a wealthy businessman, has completed her transformation into a woman of the world. Vinyl thigh-high boots and a dress bordering on a swimsuit have been replaced by a blazer-bermuda set in silk.
When she finds her friend and colleague at the edge of the swimming pool of the palace where she is staying, she throws at her, enthusiastic: “Carlos, he would blow a hose if he saw you undermined like that. I didn’t kiss you earlier because I was afraid of offending you. » Before adding: “You’re pretty dolled up… but you’ll make a mark on the boulevard, dressed as you are. » Each environment has its own codes.
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