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Paris Couture: Jennifer Lopez Shimmies, Elie Saab Shimmers, and Valentino's Piccioli Finds His Mojo

A model wears a creation for Viktor&Rolf as part of the Haute Couture Spring-Summer 2024 collection presented in Paris, Wednesday, Jan. 24, 2024. (AP Photo/Thibault Camus)
A model wears a creation for Viktor&Rolf as part of the Haute Couture Spring-Summer 2024 collection presented in Paris, Wednesday, Jan. 24, 2024. (AP Photo/Thibault Camus)
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Paris Couture: Jennifer Lopez Shimmies, Elie Saab Shimmers, and Valentino's Piccioli Finds His Mojo

A model wears a creation for Viktor&Rolf as part of the Haute Couture Spring-Summer 2024 collection presented in Paris, Wednesday, Jan. 24, 2024. (AP Photo/Thibault Camus)
A model wears a creation for Viktor&Rolf as part of the Haute Couture Spring-Summer 2024 collection presented in Paris, Wednesday, Jan. 24, 2024. (AP Photo/Thibault Camus)

As the Paris spring couture shows entered their third day, Jennifer Lopez ensured that the power of runway designs was matched by the power of a VIP audience. The singer and actress energized the Palais de Tokyo, arriving at the last minute for Elie Saab's show amid pandemonium. She and other fashion insiders witnessed a silken display of the Lebanese designer’s work evoking the complexity of North African medinas.
Haute couture — the Paris fashion industry’s ideas factory — is the age-old tradition of producing exorbitantly priced, made-to-measure garments for the world’s richest women.
Here are highlights of Wednesday's displays — including Valentino, whose designer Pierpaolo Piccioli found his voice:
ARABESQUE MOTIFS OF SPRING With an embellished floral cape and daring décolleté, Lopez marveled — and occasionally shimmied— from the Saab front row as vibrant beats accompanied the shimmering ode to Marrakech.
This season, Saab did not reinvent the wheel, nor did he intend to. This was classic couture — in sandstone tulle, sky-like lilac, blush cloud pink and dappled pastels — with arabesque motifs on golden foliage. Floor-sweeping chiffon and crepe gowns had a timeless feel, without a nod to seasonal trends.
Guests snapped photos as a giant blush full skirt in the shape of an upside-down tulip swept by, covered with hundreds of delicately embroidered three-dimensional flowers.
Elsewhere, the collection wove in playful elements like a fusion of traditional kimono techniques with the draped elegance found in classic Arab clothing.
As the grand finale gown made its entrance, the line between showstopper and spectacle blurred. The breathtaking bridal gown, with an embroidered train stretching meters long, captivated all. But in a telling sign of today’s couture landscape, it was uncertain whether the camera-wielding guests were more enthralled by the exquisite craftsmanship — or just Lopez's reaction to it.
VALENTINO: PICCIOLI TRIUMPHS WITH LUXURIOUS WHIMSY The masterful blend of subtle color blocking, whimsical elements, and — very slight — minimalism in Valentino’s Spring Couture marked a crowning moment for designer Pierpaolo Piccioli’s evolving vision of the storied house.
The dusk event, buzzing with excitement and attended by luminaries like Jennifer Lopez and Kylie Jenner, set to the haunting soprano of Madame Butterfly in the Place Vendome, marked a milestone in Piccioli’s journey of redefining Valentino’s classic couture.
Piccioli infused the collection in the gilded halls with a more disco-oriented vibe. He used silver embellished paillettes on capes and disco tops, which gleamed like river fish — and sparkled alongside the venue's crystal chandeliers. Eye-popping color such as dazzling mustard and acid green amidst more conventional hues was a light color blocking underlining his penchant for ludic contrast.
Sublime touches, like diaphanous feathers, could easily have drifted into the realm of the old-school. Yet, Piccioli transformed them into spiky, textural fans, lending them a modern edge and subtle kink. That kink repeated as visible breasts, sheer lingerie, and a gold-baubled brown leather trench coat, reminiscent of luxury bondage gear.
It’s a difficult balancing act for Piccioli — or any designer, for that matter, leading a heritage house with such history as Valentino — to free himself of the creative shackles of the house codes, without throwing the maison's spirit under the bus. This spring, Piccioli found his sweet spot.
VIKTOR & ROLF'S DARING DECONSTRUCTION Dutch designers Viktor Horsting and Rolf Snoeren again defied convention, presenting a concoction that blended the historic with a deconstructed edge. They literally cut up couture garments.
A standout piece was a large black coat, anachronistically merging elements of the 1600s and 1900s. Its prominent Elizabethan-like collar brought an almost theatrical quality.
The collection ventured further into the realm of abstract deconstruction. The same black coat reappeared but this time transformed — sections snipped away, edges clawed off as if by a wild animal with a distaste for luxury. The aggressive alteration was symbolic, representing a rebellion against tradition and perhaps a commentary on the fleeting nature of fashion itself.
There were moments where the collection evoked the fearsome elegance of Maleficent with its dark, powerful aesthetic. Other pieces hinted at the tragedy of Miss Havisham from Charles Dickens’ “Great Expectations,” particularly the gowns with panels burnt away to reveal gleaming black jeweled underlays. The garments, reminiscent of Havisham’s burnt wedding dress, seemed to speak of beauty marred by time and neglect, yet still enduring.
By slashing and deconstructing traditional designs, Viktor & Rolf infused them with a new vibrancy, challenging viewers to see clothes from a different perspective.
NAKAZATO’S ‘BLOOD WEDDING’ In a display that could be described as a theatrical “blood wedding,” Yuima Nakazato’s latest couture show intentionally left an eerie feeling. A model, a swan-like apparition, waded through a lake of blood-colored liquid, her diaphanous gown absorbing the vibrant hue and trailing a crimson path down the runway. This was high couture drama.
Nakazato, known for his boundary-pushing creativity, delved into the darker realms of fashion for spring. A model adorned with armor-like neck clasps, tears streaming from his eyes, sported a ruched devore gown that fused the high-priestly with a warrioresque Middle Earth aesthetic.
Ethereal silhouettes met sustainable innovation, with garments crafted from textile waste, embodying Nakazato’s commitment to eco-conscious fashion. Traditional Japanese techniques were evident in kimono-inspired draping.
Nature-inspired color palettes were often abandoned for darker hues, reflecting a mood of otherworldly charm. The showpiece — a coarse knit web-like top embellished with metal coins — echoed Nakazato’s flair for sculptural jewelry and other dramatic accessories. Paired with a deconstructed, paneled check jacket, it evoked samurai armor, a nod to both traditional craftsmanship and avant-garde aesthetics.

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Fashion

The Olympics Are Coming to the Capital of Fashion. Expect Uniforms Befitting a Paris Runway

This combination of images released by Stella Jean shows fashion to be worn by Haitian Olympic athletes at the 2024 Summer Olympics in Paris. (Stella Jean via AP)
This combination of images released by Stella Jean shows fashion to be worn by Haitian Olympic athletes at the 2024 Summer Olympics in Paris. (Stella Jean via AP)
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The Olympics Are Coming to the Capital of Fashion. Expect Uniforms Befitting a Paris Runway

This combination of images released by Stella Jean shows fashion to be worn by Haitian Olympic athletes at the 2024 Summer Olympics in Paris. (Stella Jean via AP)
This combination of images released by Stella Jean shows fashion to be worn by Haitian Olympic athletes at the 2024 Summer Olympics in Paris. (Stella Jean via AP)

Sure, they call it the City of Light. But Paris is also the City of Fashion, one of most influential fashion capitals of the world for decades, no, centuries (remember Louis XIV?)

So it’s no surprise that fashion designers across the globe are busy getting their national team uniforms ready for their unique spotlight. When it comes to high-end Olympic fashion — be it for Friday's festive opening ceremonies, or for competition — all runways lead to Paris.

Stella Jean will be there, styling each of Haiti’s dozen or so athletes herself. Jean, an Italian-Haitian designer based in Rome, figures she has exactly two seconds, on opening ceremony night, to make an impression on the world — an impression that may reverberate for years. “For these athletes, it’s a victory just to be here,” says Jean, whose vivid, colorful design is intended to highlight the cultural vitality of the Caribbean nation.

On the other end of the size (and budget) spectrum is Ralph Lauren, who will outfit hundreds of athletes of the US team at opening and closing ceremonies, for the ninth time. Lauren, who's presenting a casual look of blue jeans and blazers, is of course one of the world’s richest designers, along with Giorgio Armani, who has been designing Italy’s uniforms since 2012.

Countless other designers have gotten involved — including, this year, more young, “indie” labels eager to make a splash. It’s also a chance to emphasize qualities such as sustainability in fashion and adaptability, too, as in designs for the Paralympics.

“Designers and manufacturers now realize this can be a huge platform for them, for many things,” says Alison Brown, who co-hosts a podcast on all things Olympics, “Keep the Flame Alive.” For example: “Sustainability is a huge buzzword now for this whole Olympics,” she says.

And so is style — because, well, Paris.

“You always want to represent your country, and you want to represent the athletes. But it seems like this time, the pressure to do it well has been turned up a notch,” Brown says.

Some emerging details on various uniform designs:

Canada: A focus on inclusivity, adaptability During the design process, the team from Lululemon, outfitting Canada’s athletes for the second time, says they listened carefully to the athletes, and how they felt in the clothes. “When you feel your best, you perform your best,” says Audrey Reilly, creative director for Team Canada at the athletic apparel company.

She recalls listening to Alison Levine, a Paralympian who uses a wheelchair, and learning the athlete had nothing suitable to train in — so she wore medical scrubs.

“I was shocked that a professional athlete had to do that,” Reilly said in an interview. So we said, “Let’s investigate.” One result was a “seated carpenter pant,” part of a collection intended to be inclusive and adaptable. Other features include special closures to facilitate putting on and taking off garments, and pockets at the knees so an athlete like Levine can access her phone when training.

The collection covers all aspects of Team Canada’s journey, from travel to the games, to opening and medal ceremonies, to training — everything except competition. To combat the expected searing Paris heat, Lululemon, which has a four-Games deal with the team, paid special attention to ventilation and wicking.

And for opening ceremonies, designers created what they call a “tapestry of pride.” Hand-drawn and engineered into the fabric, it includes 10 animals — nine representing the provinces of Canada and one representing France. “We wanted to evoke all of Canada, coast to coast and north to south,” Reilly says.

Haiti: “They know their bodies are a flag” Stella Jean is used to designing beautiful clothes. But beauty for beauty’s sake was not a consideration in her designs for Haiti’s team. It was all about the message.

“This will be the first good news coming out of Haiti in at least the last three years,” she says, the athletes' appearance a counter-message to news about political turmoil, poverty or natural disasters. “So, I felt the responsibility to say as much as I can about the country."

For that, Jean is collaborating with Haitian artist Philippe Dodard, whose vibrant painting will be incorporated into the ceremonial uniforms — a brightly hued skirt for women and pants for men, paired with traditional items like a chambray shirt. The designs have been constructed from “leftover” fabric — sustainability, yes, but not because it is trendy, says Jean, but because in Haiti it’s both a tradition and a necessity.

Jean calls the Haitian athletes “ambassadors.”

“These ambassadors will be there, in Paris,” she says, "and they all know, even if they are very, very young, how important their presence is — and that it’s not just about performance. They know their bodies are a flag."

USA: “Nothing says America like blue jeans” For the last summer games in steamy Tokyo, Ralph Lauren outfitted athletes with something cool — literally — a technology that directed heat away through a fan device at the back of the neck.

For steamy Paris, he’s introducing another type of cool: good old American jeans.

“Nothing says America like blue jeans, especially when we’re in Paris,” said David Lauren, the label’s chief branding and innovation officer and the founder’s son, upon revealing the design in June.

For its ninth turn dressing Team USA for opening and closing ceremonies, Ralph Lauren says it will be fitting each athlete personally. For the opening ceremony they’ll be wearing tailored navy blazers with blue-and-white striped Oxford shirts — and those blue jeans.

For the closing ceremony, the team will wear white jeans with matching jackets in red, white and blue. Lauren called the closing ceremony looks “more graphic, more fun, a little more exciting.”

Mexico: A unisex approach, melding tradition with modern flair Marijose Rivera was chosen as designer of the Mexican ceremony uniform after an internal contest in her company, Haber Holding. To land her project, the 26-year-old designer devoted weeks to sketching.

“We’re not always what we’ve shown the world ... we are much more than that,” Rivera said from Mexico City. “I wanted to represent Mexico as something different, something avant-garde, fashionable, but without neglecting what we are (in) culture and tradition.”

Her designs are unisex, featuring a casual overshirt, or shirt jacket, with accents of vibrant “rosa mexicano” (Mexican pink) over the shoulders, collar, sleeve and pocket flap. “We want to break paradigms not only in terms of design but also in this sense that pink is not only for girls,” said Rivera.

On the back of the jackets is a sketch of the Mexican monument Angel de la Independencia, also known as Victoria Alada (Winged Victory), located in Mexico City and the epicenter of many national celebrations. The sleeves feature prints representing “milagritos,” or artisanal amulets.

The milagritos “are a little piece of all of us for the athletes,” Rivera said, “to let them know that although we're on the other side of the world, we are supporting them, and we are very proud to see them there."

India: Mixing old and new Indian designer Tarun Tahiliani is known for his ability to meld traditional elements with a modern sensibility. And that's what he and his menswear brand Tasva has tried to do for his country’s Olympic team.

Tahiliani told GQ India that when he began doing research for India’s opening ceremony uniform, he noted a trend of countries incorporating their national flags into the design. So he began working on a design featuring the tricolor hues of saffron, white and green.

For men, Tahiliani began with a kurta, the typical Asian long and loose shirt. He paired that with a bundi, or traditional sleeveless jacket. He told the magazine he wears a bundi every day, inspired by his father, who was an admiral in the Indian navy.

After feedback from the Olympic committee, the designer moved away from a uniform-like look for women, opting for a sari, which he says “can flatter any body type, and that’s exactly what we want for our female athletes.”

All the designs incorporate embroidery of saffron and green. “The goal is to create outfits that empower our athletes to represent India with pride and confidence,” Tahiliani said.

Italy: A mix of elegance and tradition Italian athletes will be elegantly attired in Emporio Armani uniforms, as they have for every Olympics since 2012.

The podium tracksuit is emblazoned with “W Italia,” shorthand for “Eviva Italia,” or, “Long live Italy.” The motto could extend to designer Giorgio Armani himself, who turned 90 on July 11.

“Seeking new solutions for the athlete’s kit, which must blend elegance with practicality, is always an exciting challenge for me,″ Armani said last year when the national kit was presented at the Spring-Summer 2024 runway show for the youthful and sporty Emporio Armani brand.

The athletes’ tracksuits are in Armani blue, which has long been the color of the designer’s daily uniform, either as a T-shirt or fine pullover.

Athletes will have no excuse for not knowing the national anthem: the beginning is printed inside the collar of the polo shirts, and the entire first verse is inside the jackets.

Britain: Four nations, not one The 60-year old British clothing brand Ben Sherman, known for its menswear, is creating Britain’s Olympic uniforms for the third time, and this year wants to remind the world that Britain is four nations, not one.

Its design for the opening and closing ceremonies “represents the unity and diversity of the UK, reflecting the rich tapestry of our nation’s identity.” says the label’s creative director, Mark Williams.

Williams described in an email his new four-nation floral motif, featuring a rose, thistle, daffodil and shamrock, serving as “a nod to the unique identities and histories of England, Scotland, Wales, and Northern Ireland.”

Williams stresses the motif is not purely decorative, but meant to send a message of collaboration and unity. His floral motif appears is in colors of blue and red — on polo shirts, worn with a bomber jacket, and also on colorful socks, in a collaboration with the Happy Socks brand.

South Korea: Inspiration from a national symbol South Korea’s athletes will sport uniforms inspired by the country’s national “taegeuk” circular symbol, which occupies the center of its flag. The red-and-blue circle connotes harmony between the negative cosmic forces of the blue portion and the positive cosmic forces of the red.

The motifs on the North Face-branded uniforms also include one of the four black trigrams (groups of bars) from the flag’s corners, according to Youngone Outdoor Co., an official partner of the country’s Olympic committee which produces and distributes North Face clothing in South Korea. The trigram being used symbolizes water.

A uniform for medal ceremonies features a jacket depicting the indigo blue waters off the country’s east coast in an ink-wash painting style, a red belt and black pants, Youngone says.

Team Korea’s uniform for opening and closing ceremonies was designed by Musinsa Standard, a private-label brand run by South Korean online fashion store Musinsa. The all-light blue uniform includes a blazer, its lining engraved with traditional white and blue porcelain designs, a traditional-style belt and slacks.