Nicole Kidman reveals what her hair REALLY looks like as she shows off natural locks after suffering fail with her wig during the Cannes Film Festival
The actress, 57, first shared snaps of herself going for a dip on the Mediterranean and kept her locks under a hat as she arrived to the coast.
The film star wore a white sundress and a matching hat as she soaked up the sun during her stay in the French Riviera.
In another snap, Nicole showed off her real hair as she enjoyed lunch with The Last Of Us star Pedro Pascal.
The Big Little Lies star displayed her naturally curly locks after she sported a hair piece while attending the 2025 Kering Women In Motion Awards and Cannes Film Festival Presidential Dinner on Sunday.
The Nine Perfect Strangers star wore the weave to add volume to her strawberry blonde locks and help give her a more youthful look.
However, the mesh wig cap was visible as Nicole posed for photos on the red carpet despite her real hair being weaved into it.
Hollywood stars often wear wigs and hair extensions to achieve a more youthful appearance as hair thins and loses volume with age.
Nicole also showed off her smooth visage at the event with a natural makeup palette.
The actress, who accepted the 2025 Kering Women in Motion Award, showed off her sexy yet conservative red dress as she posed for the cameras at the exclusive event.
Established a decade ago, the honour is given to women who have made a groundbreaking impact on the big screen.
As she accepted the honour, Nicole said she would continue to use her platform to fight for continued gender equality in the film industry.
She said: 'I'm just an advocate and want to continue to keep moving forward with that.'
Previous winners of the Women in Motion Award include Susan Sarandon and Salma Hayek.
Nicole added: 'I am proud to join the list of extraordinary women who've received this honour before me - artists and trailblazers I deeply admire.
'The Cannes Film Festival has been a part of my life for over 30 years and I am thrilled to add this incredible recognition to the many memories I've made here.'
The hair gaffe was Nicole's second mishap of the day after her hair piece was seen off-centre to her natural scalp line when she sported an all-black ensemble to give her talk for the award.
This consisted of a tightly-fitted leather jacket and black denims that were styled with a large belt.
The actress explained that as part of her commitment to helping women in the industry, she vowed in 2017 to work with a female director every 18 months.
Since then, she revealed, she has worked with 27 women on several projects, including those yet to be released.
'Part of it is protecting and surrounding the women with almost like a force field of protection and support,' she said.
Nicole's habit of wearing wigs in Hollywood movies has earned her a cult following over the years.
The Hollywood star has rarely showcased her natural hair in films since the early days of her career, and almost exclusively wears wigs for all of her movie roles.
An Aussie stylist has since weighed in on her most radical red carpet look at the 2025 Met Gala, where she debuted an edgy new haircut.
Bixie Colour hairstylist Andrew Newport believes her new short style could be a mix of her real hair and extensions.
'This could be Nicole's real hair with the length at the back disguised under some artfully placed, clipped or glued in hair pieces,' he said.
'This look, which appears to have been achieved by hair magic, could have been created by taking the hair at the back of the head and braiding tightly to the scalp. Nicole's real hair is featured at the front fringe, plus the hair extensions at the nape would be dressed over the disguised hair.
'This would take a bit of work and considerable time but is 100% achievable.'
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Telegraph
37 minutes ago
- Telegraph
Marriage Diaries: My husband wants me to go topless on holiday
Ever since our first holiday together as a couple, my now-husband has asked me to sunbathe topless. It started six months into our relationship, when we booked a fortnight on the French Riviera. Scrolling through my Instagram profile, he'd stop at past pictures of me on the beach, then point to my bikini top, declaring: 'You won't need that in Cap Ferrat!' As I got dressed in the morning, between putting on my knickers and putting on my bra, he'd gesture to my bust and say happily: 'You'll be able to walk around like that on the Riviera!' When it came to packing our cases, he held up the bikini tops I'd laid out with their bottoms, and told me: 'Oh, you won't need those!' I laughed it off – for what felt like the millionth time – and said: 'I'll sunbathe topless when we're married!' At this stage, we hadn't even discussed marriage, so it was just a light-hearted way of brushing off the idea. Then it ballooned, next time he raised the topic, as I told him that doing anything that racy had to be sanctioned by a wedding ring. This was on the first day of the holiday, when he'd tried to get me to take off my bikini top. I explained that I was wary of being perceived as a cheap tart, but being a wife would make it more respectable, and if we were both wearing wedding rings, no one would mistake me for a PA he'd taken away for a dirty weekend. If I'm really honest, it crossed my mind that it might spur him on to pop the question – and who knows, maybe it played a part, because four months later he did. Now we're married, and our first beach holiday as a married couple is approaching. My husband is so excited about me going topless for the first time, he might as well be rubbing his hands on his thighs in the deranged manner of Vic Reeves perving over female contestants on Shooting Stars. I, however, have freezing cold feet because I never wanted to sunbathe topless in the first place. It's not that I'm shy about my body. I have a great figure and I've always had fabulous breasts – even more so now, thanks to a boob job my husband paid for before the wedding. Now he can't wait to show me off, in the same way he hopes to impress people with his Porsche and our white stucco-fronted townhouse in a sought after street in SW1. For me though, the prospect of sunbathing topless is anxiety-inducing. Aside from a fear of burning my nipples, which have never seen the sun, I don't want other men looking at, and possibly leching over, my bare breasts! My husband waves away my concerns, reassuring me that we'll be on a private beach which is expensive enough to keep the riff-raff out. As he keeps reminding me, it works out at about £300 per person, per day – including lunch – so there's little chance of us encountering 'the great unwashed'. In his eyes, the exclusivity means it's perfectly acceptable for me to be semi-naked, because we'll be only around 'PLU' (aka 'people like us'). I don't see it this way at all, and actually I think it's degrading for men I'd never be intimate with to see such a private part of my body. In particular, I think it's inappropriate for the waiters at the beach to see my breasts, and worst of all I think it's awkward for our houseguests who'll be staying with us in the apartment we've rented.
The Guardian
2 hours ago
- The Guardian
Yoann Bourgeois on his mindblowing viral stair climbing act: ‘I want to return to the spirit of childhood'
You may have seen a certain video online of a man climbing some stairs. Actually, he's repeatedly falling from them but then magically bounces back up, weightless as a moon-walker. Out of sight is a trampoline, which gently catapults his looping, twisting body up the staircase each time he falls, turning a would-be simple journey into an epic, poetic odyssey that has caught the internet's imagination. Pop star Pink saw it and immediately got on the phone to its creator; Martin Short even made his own version on Only Murders in the Building. The act is the work of French choreographer-director Yoann Bourgeois, 43, whose live performances have been touring festivals for years. But the popularity of his videos online has propelled him into new realms, working with Harry Styles, Coldplay, Selena Gomez and Louis Vuitton. He continues to create new, live work and brings his latest outdoor piece, Passage, to Greenwich and Docklands festival this summer. Some people run away to the circus; others have it arrive on their doorstep. Bourgeois' parents separated when he was growing up in Jura, eastern France, and their house was sold to a circus group, Cirque Plume. Bourgeois was already interested in theatre (and later studied dance) and he began to train with the group. 'In a way I was looking for a way to get back home,' he says, via a translator. It wasn't just about returning to the physical building, but the spirit of childhood. 'I really wanted to continue to be a child. I've searched for a life where I can continue to play; it drives my career even now.' What Bourgeois plays with are the invisible physical forces that surround us – gravity, tension, suspension – and the interaction between those forces, the performers' bodies and symbolic ideas. For example in Ellipse, the dancers are in costumes like lifesize Weebles with semi-circular bases, rocking and spinning, but never falling. A man and woman 'dance' together, swaying past each other but never quite managing to connect. (Missy Elliott wore a version of the same costume in her video Cool Off.) In Celui Qui Tombe (He Who Falls), the performers stand on a wooden platform that rotates, at some speed, then tilts, forcing their bodies to lean at precarious angles to keep their balance, and the group have to navigate this peril together. The short piece Bourgeois is bringing to London is called Passage, and features a revolving mirrored door and pole dancer Yvonne Smink hanging, swinging, balancing and turning the simple act of crossing a threshold into something of infinite possibilities. Much like the way sculptor Antony Gormley hit upon a universal idea in his use of the body, Bourgeois works with the same kind of directness: a seemingly simple setup or visual idea that represents something huge – life, death, time, mortality, struggle, hope – in a way that's easily readable but can feel profound. Here he is talking about suspension: 'In physics, suspension means the absence of weight. But if we speak about time, suspension means absolute presence. And I think this cross between absence of weight and absolute presence is like a small window on eternity. That's what I search for: to catch the present, to intensify the present.' Even though Bourgeois seeks to be live in the ephemeral moment, you can see why the recorded versions have gone viral. He admits his work looks good on screen. 'I feel very lucky because, by chance, my work can be eloquent in this kind of frame, on Instagram for example,' he says. He's interested in clarity not overcomplication and embraces his wide fanbase. 'I didn't grow up in a family interested in art,' says Bourgeois, and that's who he imagines making his work for. He's reaching even more eyeballs now with his pop star collaborations. For the Harry Styles video As It Was, Bourgeois designed another revolving platform that saw Styles and his lover being pulled together and apart. 'Behind the superficial pop veneer of the song, there's a great sense of despair,' he says. Bourgeois designs his own stage machines, but the revolving floor is, he points out, a very old theatrical device. The question of what's truly new in art came to the fore when he was accused of plagiarism in a video posted online comparing scenes from his work with scenes from other artists. There are some striking similarities but Bourgeois is robust in his defence, saying that the works referenced motifs from the history of art, which he considers to be in the public domain. Many circus performers will use the same props. 'If you use just a frame of a video, it's easy to make a comparison,' he says. 'What is original is the treatment and the creative process.' We need to look at the whole work rather than an isolated image, he insists. What's certain is that Bourgeois can turn universal ideas into something eye-catching that connects deeply with audiences – imbued with the wonder of circus and the grace of dance. Greenwich and Docklands international festival runs from 22 August to 6 September. Passage is part of Dancing City at the festival on 6 September
Times
3 hours ago
- Times
The Times Luxury Cartoon: July 28, 2025
Enrico Pinto is a cartoonist and architect from the south of Italy. He lives in Paris and he is working on his second graphic novel. His work has been published in The New Yorker, Internazionale and Le Fooding.
