Lizzo turned heads at the amfAR Gala in Cannes on the evening of the charity event, arriving in a cobalt blue dress by Robert Wun that hung from a necklace placed at the dress’s nipples. The look also included matching blue gloves with another set of hands on top, and it echoed a similar design from Wun’s spring 2026 couture collection.

The singer, who has long used fashion as part of her public image and whose hit “Good As Hell” became one of her signature songs, did not wear the runway’s headpiece and crown. Even without those pieces, the dress was built for the kind of immediate read that keeps people looking, and this one landed with a sharper point because it was not an isolated stunt but part of a familiar fashion lineage.

That lineage reaches back to spring 1998, when Thierry Mugler sent model Erica Vanbriel down the runway in a sheer black dress hanging from her nipple rings. Vanbriel later summed up the idea with Mugler’s line: “Thierry said I have a dress for you and I’m going to hang it off your nipples.” More than two decades later, Collina Strada’s Hillary Taymour draped a pale pink dress from daisy-shaped nipple attachments in spring 2023, and the motif returned again when Chappell Roan wore a burgundy iteration of the dress at the 2026 Grammys, hanging it from prosthetic nipples.

Seen against that history, Lizzo’s Cannes appearance was less about shock than about continuation. The Robert Wun dress fit a pattern that fashion keeps returning to: the body as structure, the garment as suspended object, the joke and the provocation arriving at the same time. Lizzo’s version was the latest proof that the silhouette still works because it asks the same question every time it appears — not whether it can be done, but why designers still want to do it.

For readers watching the red carpet rather than the runway, the answer is already visible. The trend is not fading; it is being recycled by new names, new materials and new settings, with Cannes now added to the list.