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Jurgen Klopp’s seasons at Anfield have tended to end with everything riding on the last game: Champions League qualification or winning the Champions League. Even the one that didn’t, in 2020, could culminate in a celebration, with Liverpool already champions of England for the first time in 30 years. Now comes a rare meaningless match, with Southampton certain to come bottom and Liverpool guaranteed to end up fifth, and a chance to reflect on what might have been. Last season threatened to be Liverpool’s greatest, when they closed in on a quadruple. After the false dawn of an emphatic Community Shield win over Manchester City, things soon started to go awry. “It was clear from a specific point on it would not be a historically good season,” said Klopp. Perhaps that specific point was the opening league game, and a disjointed, disappointing first hour against promoted Fulham. Or maybe their first match at Anfield, when Darwin Nunez, the flagship summer signing, was sent off on his home debut for headbutting Crystal Palace’s Joachim Andersen. Or possibly their third outing: a defeat at Old Trafford that kickstarted Erik ten Hag’s reign at Manchester United and to a team who ultimately pipped them to a top-four finish. For three-quarters of a season, Liverpool only mustered three away wins and did not muster three victories in a row, except when those fixtures were separated by a World Cup. Klopp nevertheless felt, and the facts supported him, that the mid-season break brought an improvement. “After the training camp during the World Cup, it was not that everything was great but the amount of points we have won since then is pretty good,” he said. “If we could have done that over the whole season, we would be in a different place.” He is right: only the Manchester clubs have more points over the last six months. However, it still went wrong over the course of Liverpool’s first 29 matches, when they dropped 43 points and were left at the risk of their lowest league finish since promotion in 1962. “I think we said everything about it, we are absolutely not happy with it,” said Klopp. “We made mistakes, we couldn’t deliver often enough and were not consistent enough.” Three particularly damning results, symptoms of that inconsistency and which could cost them Champions League football, were the defeats to Leeds, Nottingham Forest and Bournemouth, all then in the relegation zone. That they lost to Forest six days after beating City and were beaten at Bournemouth six days after scoring seven against United make each missed opportunities to generate momentum. “I really think this was not a season we will talk about,” reflected Klopp. “Maybe about parts but we failed to give the people more to enjoy.” Perhaps he was doubly wrong: Liverpool’s shortcomings can always bring anguish and anxiety while, amid mediocrity, there have been genuine highs: at Anfield against both Manchester clubs, winning home and away against Newcastle, the contrasting double against Tottenham, thrashing Leeds 6-1 and Rangers 7-1 on the road, the 9-0 demolition of Bournemouth. Yet each illustrated what could have been, not what ultimately was. There were causes. A crippling injury list felt a constant, with midfield the most affected department but lengthy absences of Luis Diaz and Diogo Jota feeling particularly telling in attack. There was the already infamous decision not to buy a midfielder last summer, which was compounded by Fabinho’s awful form, Naby Keita’s seemingly never-ending injuries, Thiago Alcantara’s perhaps predictable absences and signs of ageing from Jordan Henderson. There were mix-and-match combinations from Klopp all season, casting around in search of a solution before a late-season switch to bring Trent Alexander-Arnold infield alongside Fabinho and behind Curtis Jones and Henderson worked. It reflected two enduring issues: Alexander-Arnold’s defensive deficiencies at right-back had felt more pronounced when he was afforded less protection and the 4-3-3 formation that had served Klopp so well for years brought a rethink. There were flirtations with 4-4-2 and 4-2-3-1 before a spring switch towards 3-2-4-1. Klopp has started to argue that at most clubs, the manager changes inside seven-and-a-half years; at Liverpool, the manager is belatedly changing things. Maybe the most damaging change was not of his own volition. Sadio Mane’s move to Bayern Munich has worked out for neither club nor the player. Without him, with Roberto Firmino starting only 12 league games, there has been a different dynamic in the attack. In part the story of the season has lain in the erratic, compellingly watchable Nunez; thus far, he has been an imperfect fit in different combinations and, with decidedly mixed finishing, one of the great expected goals underachievers while Liverpool have struggled to press as rigorously. Maybe it is no coincidence their surge of 22 points from their last eight games came with Nunez largely a substitute. Transition was perhaps never going to be easy for Liverpool but has been jarringly awkward at times this season. And yet that recent run engenders optimism. Liverpool may have turned a corner; they never became as fractured as some of their rivals. “The dressing room is not in a bad mood,” Klopp said. “We have learned to deal with the situation. We didn’t get divided in one moment between manager and team, which is super helpful. We didn’t point fingers at each other.” They ended up seemingly pointed further forward than he had wanted, with Alex Oxlade-Chamberlain, James Milner, Keita and Firmino all going, when Klopp had wanted to keep two of them. There will be Europa League football at Anfield next season, perhaps further sightings of Alexander-Arnold in midfield. But as the German’s worst year in England comes to an anticlimactic conclusion, it is with the last few weeks offering renewed hope it will be a one-off. 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Of all the places you’d expect to see a woman walking barefoot, the red carpet at the Cannes Film Festival is probably not one of them. And yet, this has become a somewhat regular occurrence at the annual shindig, where A-list actors, models and directors gather in their finest gladrags. Sure, the festival is ostensibly about celebrating the best of cinema. But it has also become one of the most significant events in the fashion calendar, with stars taking the opportunity to make both sartorial and political statements. However, out of all the trends that have prevailed, from cutout gowns to sheer sequins, the one that continually seems to trump them all is none other than women’s feet. And it’s already made headlines again this year, thanks to the likes of Natalie Portman, Jennifer Lawrence and Isabelle Huppert, all of whom have made their own subtle nods to the political powers of their own feet. Traditionally, the Cannes dress code is rather strict: in 2015, a group of women in their fifties were reportedly turned away from a screening because they were wearing “rhinestone flats” instead of high heels. The story immediately prompted a backlash and accusations of sexism, with the festival’s director, Thierry Frémaux, denying that heels are mandatory: “The rumour saying the festival insists on high heels for women on the red carpet is unfounded,” he wrote in response to critics on Twitter. Nonetheless, female actors were quick to respond, with Emily Blunt saying at the time: “Everyone should wear flats, to be honest. We shouldn’t wear high heels.” The following year, Julia Roberts and Sasha Lane attended Cannes events barefoot. “The carpet was for our film and I was dressed in a very elegant gown and there’s a ton of stairs, and I’m walking around all day… so I will go barefoot,” Lane said in a later interview. “Why is anyone against that? I’m still here and well-dressed.” Lane’s comments were also echoed by Kristen Stewart, who once said of strict female dress codes: “I feel like you can’t ask people that anymore. If you’re not asking guys to wear heels and a dress, you cannot ask me either.” The Twilight star famously took off her sky-high Christian Louboutin heels on the red carpet at Cannes in 2018, proceeding to walk the rest of the carpet barefoot. Official rule or not, there’s no mistaking that even now, in 2023, the pressures placed on women at black tie events such as Cannes are different to those placed on men. Sartorial convention has long defined occasionwear as anything that leaves your feet uncomfortable. Whether it’s a pump, sandal, or stiletto, the shoe needs to add some sort of height to your look in order to be considered formal and appropriate. It might seem like a small imposition, but if there’s anything this year’s red carpet has taught us, it’s that it can serve as a microcosm of much wider inequalities. Take Cate Blanchett, who last weekend at a Cannes party presented an award to the French-Iranian star Zahra Amir Ebrahimi. “I am going to take my heels off, in honour of the women of Iran,” she told the crowd, before holding up Ebrahimi’s pointed trophy to joke: “This is to stab everyone who stands in the way of women’s rights. Up the vajayjay!” The sentiment has also been referenced by Portman, Lawrence and Huppert at this year’s festival. On Saturday, while talking about her new film May December, Portman spoke about the idea of “performing femininity”, telling attendees that it’s something she’s “very curious about”. “The different ways that we as women are expected to behave – at this festival, even – compared to men,” she said. “How we’re supposed to look, how we’re supposed to carry ourselves.” Meanwhile, Lawrence arrived on the red carpet for the Bread and Roses premiere in a scarlet Dior gown paired with flip-flops. And as for Huppert, a perennial style maven at Cannes and beyond, she made a subtle nod to the shoe-less protests in a pair of Balenciaga heels that had been specially designed to resemble a bare foot. All this serves as a reminder that despite societal progressions, women’s bodies are still firmly policed in the public eye. If it’s not via their footwear, it’s via their actual outfits. Think supermodel Irina Shayk, whose outfits at Cannes events this year include a leather two-piece by Mowalola that exposed her entire torso, and a sheer black dress worn over a matching set of Gucci underwear. Elsewhere, we’ve seen Julia Fox don a completely see-through bodice with a white flowing skirt, while Naomi Campbell walked the red carpet in a scarlet gown with cutouts across her chest. Showing skin is nothing new among the fashion set, particularly given the resurgence of Y2K trends on the runways that continues to maintain its stronghold on the industry. (There has been talk of “naked dresses” for several seasons now, with influencers and stars all partaking in the art of wearing sheer gowns to formal affairs.) But bringing it to Cannes feels particularly poignant and in keeping with the barefoot brouhaha when you consider just how easily offended people are by such ensembles. The body-shaming prompted by Florence Pugh’s see-through Valentino frock last summer is just one example that springs to mind. Flashing a foot is, of course, somewhat different to flashing a nipple, but fundamentally the underlying message is the same. It’s about subverting the social conventions that oppress us. It’s about showing the world that women are fed up of being told what is and is not an acceptable way of presenting their bodies. And it’s about asking why we should still conform to dress codes informed by sexism when, as Blanchett pointed out, women’s rights continue to be subjugated around the world. With all this in mind, we’re not asking for much. The least people can allow us is to take off our heels or flash a little flesh without it having to be headline news. Read More Subversive? Dangerous? 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