Dakota Johnson brought a study in restraint and subtle detailing to the “Splitsville” photo call at the 78th Cannes Film Festival. Styled by Kate Young, the star of Michael Angelo Covino’s new comedy wore a black Gucci midi dress with slender spaghetti straps and a bias-cut silhouette that skimmed her frame, stopping just above the ankle.

The accessories followed suit. Johnson wore Boucheron’s Avoine head jewel from the Untamed Nature collection — a white gold and diamond piece tucked into her side braid. She completed the look with Vendôme Liseré diamond stud earrings and a recycled gold ring of interlocking bands. Her hair, styled by Mark Townsend, was swept into a low braid with a deep side part. Makeup artist Georgie Eisdell kept the beauty look soft: a subtle smoky eye, blush-toned cheeks and a nude lip.

The repetition of fine lines — from the dress straps to the barely-there sandals — underscored the outfit’s minimalist precision. Johnson wore black patent heels with slim toe straps and delicate ankle buckles punctuated by a silver metal detail, showing off tattoos across her foot. The shoes mirrored the clean geometry of her dress and jewelry, reinforcing a stripped-back, sculptural sensibility.

The look fits within a clear throughline in Johnson’s Cannes wardrobe this year. At the Kering Women in Motion Awards, she wore a sheer Gucci gown embroidered with micro-crystals and framed by translucent sleeves — another study in texture over excess. For the premiere of “The Second Act,” she chose a pastel-pink Gucci dress covered in tiered fringe, paired with matching metallic platforms. Even in more playful silhouettes, Johnson’s focus has remained on intentional materiality and movement.

The restrained palette and unfussy silhouettes mark a departure from overt embellishment, reinforcing a more edited and refined approach to red carpet dressing that has quietly defined Johnson’s Cannes appearances.

The 2025 Cannes Film Festival concludes on May 24. Films premiering at this year’s festival include Wes Anderson’s “The Phoenician Scheme,” Julia Ducournau’s “Alpha” and Lynne Ramsay’s “Die, My Love.”