Erivo, Cynthia

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    The Best Looks of the Paris Olympic Opening Ceremony

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    Paris raised the fashion stakes for the XXXIII Olympiad, and even with the rain, the result transformed the Seine into a watery runway. Even before the XXXIII Olympiad officially began, the litany of firsts was enormous. The first Olympics in Paris in a century. The first with equal gender participation. The first opening ceremony, ever, en pleine air. The first sponsored by a global luxury behemoth.The first Olympics in which fashion was so central to the identity of the host country itself.The opening ceremony featured not only a red carpet at the entrance but offered a full-blown runway show in the middle of vignettes devoted to the history and spirit of the country, including the French Revolution and the reconstruction of Notre Dame. As the monuments of Paris — the Eiffel Tower, the Grand Palais, the Place de la Concorde — provided the backdrop to the event, style was at its heart.The bar was set as soon as it was announced that LVMH would be a premium partner. The goal, according to Thomas Jolly, the Games’ artistic director, was to “shed light on French savoir-faire,” broadly defined. They did it with cabaret and heavy metal, dance, acrobats and 1,800 outfits from brands both new and old. From the start, it was clear the fashion competition stakes would be raised for every other national team. At the opening ceremony for the 2024 Paris Summer Olympics, Team USA with flag bearer LeBron James (in foreground holding the large American flag).James Hill for The New York TimesIt’s tempting, during an Olympics, for teams to resort to the usual uniform of blazer and chino in national colors (yes, we’re looking at you, USA and Ralph Lauren), to default to the basic athleisure warm-up suit (hello, Italy in Emporio Armani and Canada in Lululemon) or to fall into a trap of national stereotype (Bermudans in Bermuda shorts).But by the time the Olympic cauldron had risen aloft beneath a hot-air balloon, and Celine Dion had begun to belt beneath the Eiffel Tower, and despite the rain that had pelted down requiring mass distribution of ponchos, it was clear the most memorable looks belonged to the teams who played their own fashion game. Not to mention the attendees who dressed for the occasion, and the brand that turned out to have been the secret couturière to the celebrity performers.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Where Can Sondheim’s Operatic Musicals Find a Home?

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      Jonathan Tunick, Stephen Sondheim’s longtime collaborator, unveiled a grand orchestration of “A Little Night Music” that deserves more than a concert.Near the end of Stephen Sondheim’s musical “A Little Night Music,” the orchestra swells to what he is said to have called his Max Steiner moment, something out of “Casablanca” or “Gone With the Wind.”Désirée and Fredrik, former lovers who reconnect but nearly miss out on happiness again, come together and kiss. The instruments respond with a grand, emotive reprise of the show’s 11 o’clock number, “Send in the Clowns.”At a concert performance of “A Little Night Music” at David Geffen Hall on Thursday, the premiere of a new orchestration by Sondheim’s longtime collaborator Jonathan Tunick, the 53-piece Orchestra of St. Luke’s let out a fortissimo tutti. Strings and winds soared with the melody, but there was more: resonant, staggered chords to support it in the low voices, and florid counterpoint. It was a moment fit not only for the movies but for the opera house, which, perhaps, is where this new orchestration belongs.Not all musicals are fit for stages beyond Broadway, but some are. And there has been a resurgence, since Sondheim’s death in 2021, of large-scale revivals of his work. (This, after years of skillfully stripped-down productions by John Doyle.) “Sweeney Todd” returned to Broadway with Tunick’s original orchestration for nearly 30 players, crackling with detail and musical drama. Last week, “Follies” was presented at Carnegie Hall with a similarly sized ensemble and a starry cast in concert.The version of “A Little Night Music” on Thursday had nearly double those forces. If anyone can be trusted with that task, it’s Tunick. He and Sondheim first collaborated on “Company,” in 1970, and Tunick orchestrated the composer’s final, unfinished show, “Here We Are,” last year.Tunick, center, was Sondheim’s longtime collaborator, starting with the 1970 musical “Company.”Joan MarcusWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Jeff Bezos, Doja Cat and Pamela Anderson Pregame the Met Gala

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      Designers, athletes and celebrities swapped stories on dress fittings and gala prep routines on the eve of fashion’s biggest party.On Sunday evening, the rapper Doja Cat swept into an upscale French restaurant in SoHo carrying a disposable Starbucks cup. She stashed it at the bar, and then made her way to the rear of the room to kiss the actress Pamela Anderson on one makeup-free cheek.Ms. Anderson was hosting a party with the label Monse as a kind of amuse-bouche for the Met Gala the next night. About 100 designers, editors and models gathered at La Mercerie, the restaurant and home goods store, to greet one another with some version of the line: “I have such a busy day tomorrow.”Ms. Anderson planned to wake at 5 a.m. — a feat she said would not require an alarm clock — and then head to a park for a moment of peace before her first Met Gala. “I’m going to be walking all of those scary feelings out,” she said.Under the ceiling’s central arch, servers circulated trays of buttered radishes. Guests sipping Sancerre traded thoughts on increasingly elaborate gala prep routines. (Fillers came up, as did Ozempic.)Doja Cat said she would be sticking to “regular old beauty prep,” with the help of the makeup artist Pat McGrath.Clockwise from top left: Lauren Sanchez and Jeff Bezos; Pamela Anderson; Fernando Garcia and Laura Kim; and Lizzo and Gabrielle Union.Amir Hamja/The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More