Bollywood actress and singer Tara Sutaria understands that retro screen-siren energy works best for her every single time. For her second look at the Cannes Film Festival 2026, she went for an all black look with old Hollywood waves and minimal accessories.
Styled by Tanya Ghavri, the look consisted the Dalila off-shoulder corset top and Joud midi skirt from Romanian label Rhea Costa. Tara paired it with sharp Saint Laurent sunglasses, vintage Chanel earrings, and pointed Jimmy Choo heels.
The construction of the outfit is where things look a little off. The corseted body appears matte and structured, while the draped off-shoulder bust section has a liquid sheen that suggests satin or silk. Then come the opera-length black leather gloves, which introduce a harder, almost dominatrix-adjacent contrast to an otherwise classic silhouette. Her outfit had different textures battling for attention. But because everything stays within a black palette, it wasn't visually chaotic.
Sure, she looks stunning. Tara has one of those faces that is editorial-adjacent. The bone structure, the soft glam makeup, the side-swept retro hair — she wears old-world glamour effortlessly. She photographs beautifully in stillness, which is why this aesthetic works for her repeatedly.
But the look itself? Safe. Extremely safe.
That is not necessarily a crime at Cannes. In fact, most first-timers — especially actors trying to establish a fashion identity on an international carpet — play it carefully. Black gowns, vintage references, structured silhouettes, minimal risk. It is practically a rite of passage. Nobody wants to end up on a “worst dressed” slideshow while introducing themselves to the global fashion press.
Still, this particular outfit feels like it stopped just before the interesting part.
The gloves hinted at drama, but the rest of the styling never fully committed to it. The silhouette was elegant but predictable. The monochrome palette could have benefited from sharper jewellery styling, a stronger lip, a more experimental neckline structure, or even a bolder shoe moment. Even the sunglasses — while chic — was more airport look than Cannes-fashion-history.
The irony is that Tara actually has the face and presence to pull off something riskier. A sculptural archival gown, a sharper couture moment, or even a full commitment to retro siren glamour with diamonds and exaggerated tailoring would not overpower her. If anything, it would finally match the cinematic energy she naturally gives off.
This look was polished, expensive-looking, and very wearable in the luxury sense. But Cannes is one of the few places where wearable is sometimes the least interesting thing you can be.
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