29 of the most daring looks Florence Pugh has ever worn, from sheer gowns to bold cutouts

At the Evening Standard Film Awards, Pugh wore an open-back dress from Millie.

The tea-length dress was covered in a multicolored, geometric pattern. 

The halter neckline plunged low, dipping almost all the way to Pugh’s navel. Pointed-toe heels completed the ensemble.

Pugh paired high-waisted white trousers with a semi-sheer white top embroidered with flowers.

She wore her hair slicked back, letting the shirt shine.

The light-blue dress had Grecian-style sleeves that gave way to a bodice with a low neckline and pops of red fabric on the side.

A fitted waist flowed into an asymmetrical skirt patterned with flowers, and it featured a thigh-high slit. 

Strappy, red heels tied the outfit together. 

Pugh’s pink, gingham Emilia Wickstead dress had a collared neckline, full sleeves, and a pencil-style skirt.

A cutout in the center of the bodice gave the elegant look a modern feel, as did the white, pointed-toe heels Pugh wore with the dress.

The column dress had a plunging neckline, thigh-high slit, and delicate cutouts on the skirt. 

The gown’s sparkly, gold fabric made it feel glamorous. 

The ensemble consisted of a black top and a matching column skirt.

Rope lacing made of crystals kept the crop top together. The laces hung down to the skirt, almost doubling as a necklace. 

Pugh’s sparkly shoes matched the embellishments on the top. 

The Emilia Wickstead set consisted of a crop top and a long column skirt. 

Both featured a mosaic pattern that created cutouts from head to toe. 

Sheer, black gloves, open-toe black heels, and Tiffany & Co. jewelry tied the look together.

The hot-pink dress had a cinched waist, a tulle skirt, and a high neckline with fabric flowing out of the collar. Pugh wore matching platform heels with the dress.

The bodice was entirely sheer, and though she loved the dress, Pugh later spoke out against men’s reactions to the transparent fabric.

The Valentino set consisted of a bra top, high-waisted shorts, and a button-down, all of which were printed with “Maison Valentino” in funky fonts.

Pugh made the ensemble look effortlessly cool at the festival by adding matching heels, a purple purse, and sunglasses to the outfit.

The black dress was entirely covered in sparkly embellishments and looked like a cross between a bodysuit and a ball gown.

Puffy sleeves and a sweetheart neckline accented an off-the-shoulder neckline.

The corset bodice was sheer on top, while the bottom half was slightly less transparent. A sheer skirt cinched out from the ensemble at the waist, and it flowed into a dramatic train that showed off Pugh’s legs. 

Feathered shoes added to the daring look.

Like her dress for the “Don’t Worry Darling” premiere, Pugh’s short-sleeve Rodarte gown was made of sheer, sparkly fabric. 

The see-through fabric exposed her black underwear and bralette, while bow details on the front of the dress added a playful feel.

Pugh’s slip-style Victoria Beckham dress had an asymmetrical pattern made of white fabric and sheer panels with silver polka dots.

The transparent fabric covered Pugh’s stomach and legs, while the white fabric curled around her chest and waist for coverage. 

A statement necklace from Tiffany & Co. completed the look.

The dress had a square neckline, a full skirt, and was completely backless.

The bodice also had a square shape, leaving the side of Pugh’s chest exposed.

A dramatic train gave the dress an old-Hollywood feel.

Pugh wore an all-red ensemble designed by Robert Wun to the event.

The strapless top had a voluminous peplum and corset-style ties in the back, and she paired it with a coordinating column skirt.

But the standout feature of the ensemble was Pugh’s red hat, which had a tulle veil that reached the floor. 

Designed by Valentino, Pugh’s look paired high-waisted black trousers with a coordinating bikini top that was adorned with rosettes.

A pink jacket that doubled as a cape completed the ensemble.

The suit dress had a semi-sheer, white bodice with a collared neckline. The bodice was completely backless and had side cutouts, covering only Pugh’s front.

A black tie cinched at Pugh’s neck, coordinating with the gown’s form-fitting black skirt. 

The sage-green dress had a strapless neckline and off-the-shoulder sleeves, which flowed into a cape.

Most of the dress was made of sheer, gauzy fabric that flowed to Pugh’s feet. A coordinating bodysuit provided coverage. 

Pugh’s white gown for the Met Gala featured a daring cutout tied with a black bow and a matching sky-high feathered headpiece. A giant train added drama to the look.

The floor-length, lilac dress had a fringed, halter neckline that plunged to her navel.

The gown’s billowy fabric, which made up the dress and the cape that flowed out behind her, was totally sheer, with only a thong providing Pugh with any coverage. 

It was also backless, making the gown even more daring.

Designed by Alexander McQueen, the white halter gown resembled a wedding dress, with its mesh base adorned with 3D flowers.

The gown also had a low back and a delicate train.

Pugh wore no bra with the ensemble, making the look even bolder. 

The A-line red dress had spaghetti straps, a pointed neckline, and a full skirt. 

Floral appliqué adorned the gown’s sheer fabric from head to toe, giving it an ethereal feel. 

Pugh wore a custom Valentino gown to the premiere.

The figure-hugging, sleeveless dress was made of sparkly brown fabric and featured a train. But the standout element of the dress was its built-in hood, which contrasted with the gown’s cowl neckline that plunged low on her chest. 

Pugh’s Valentino gown paid homage to her “Dune: Part Two” character, Princess Irulan, for the film’s New York premiere.

The pleated dress had a high, halter neckline, while the back and sides of the bodice were completely open. She paired the floor-length dress with platform, metallic pumps.

The gown’s color was similar to that of a dress Pugh’s character wears in the film, and she added dramatic makeup to give the look an otherworldly feel.

Simone Rocha designed the sheer gown Pugh wore to the famous Oscars after-party.

The base of the dress was completely see-through, with a floral appliqué on the bodice providing a bit of coverage. A peplum flared around her waist, and a train flowed out behind the tea-length skirt, elevating it.

Christian Louboutin shoes and Bulgari jewelry completed the look.

Pugh whipped out another semi-sheer gown to promote “We Live in Time,” selecting a black Christian Dior dress for the film’s New York screening.

The lace gown had ruffled sleeves and a ruffled neckline, which dipped all the way to Pugh’s waist, revealing a black bra beneath. A belt cinched her waist, while the see-through skirt flowed to the floor.

Pugh kicked off the “Thunderbolts*” press tour in a Francesco Murano set.

Her scooped bra top sat low on her chest, while the coordinating skirt was high-waisted and curved up her torso. A thigh-high slit cut up the skirt, showing off her Christian Louboutin shoes.

Pugh wore another black look to a screening of “Thunderbolts*” in New York, selecting a Loewe dress.

The latex dress had a high neckline and a sheath-style silhouette. The back was almost completely open, with two thin straps connecting it to the bodice. A thigh-high slit adorned the skirt, almost mirroring the back of the dress.

To promote the Netflix adaptation of “East of Eden,” Pugh dove into the Rodarte archives.

Her yellow set was made of thin polka-dot fabric that fell in tiers.

The top had a high neck and a triangular cutout in the center, bisecting the garment. A floral appliqué adorned the top and skirt, which Pugh accessorized with pointed-toe heels.

Vivienne Westwood custom-designed Pugh’s gown for the New York “East of Eden” premiere.

The dress had the same color scheme as her Rodarte look, with a yellow bodice and a gray skirt. The form-fitting top had an exaggerated sweetheart neckline that dipped low on Pugh’s torso. A zipper flowed down the center, with sparkly embellishments framing it.

Her detached sleeves were puffy, while the silk skirt had subtle gathering to add dimension.