Adriana Karembeu wore a sculptural white Stephane Rolland Haute Couture gown featuring fluid draping and a daring slit on the runway in Paris on January 27, 2026.
In Paris on January 27, 2026 , Adriana Karembeu commanded the runway at the Stephane Rolland Haute Couture Spring/Summer 2026 presentation , her look merging architecture and motion into one captivating shape. She wore a white sculptural gown , the fabric arranged in sweeping folds that curved like wind over marble. The dress featured a high neckline and fluid long sleeves that extended outward as she walked, almost as if the garment were caught mid‑movement.
The central detail—a carved opening at the hip, set with shimmering crystal accents —gave the dress dimension and continuity, carrying light across its glossy surface. Beneath the flowing layers, a structured high slit revealed length and stride without disturbing the gown’s serene geometry. The way the satin moved—sometimes floating, sometimes dense—made the look feel alive, oscillating between rigor and improvisation.
Her short blonde hair , styled with slight texture, added to the clean aesthetic, while natural makeup and a hint of luminance around the eyes allowed the outfit’s sculptural form to take focus. The surrounding red carpet and golden theatre light framed her appearance as both theatrical and human—grace caught mid‑gesture.
Paola Turani wore a gold and black beaded mermaid gown with a fitted corset top at the Tony Ward Haute Couture Spring/Summer 2026 show in Paris on January 26, 2026.
At the Tony Ward Haute Couture Spring/Summer 2026 show in Paris, on January 26, 2026 , Paola Turani stepped into the light wearing a dress that shimmered like dusk turning to night. Her floor‑length gown combined a gold‑beaded sheer base with a gradient that deepened into black sequins trailing into a train . The cut followed a mermaid silhouette , sculpted sharply through the waist and hips, before flaring slightly at the hem.
The design featured a structured corset top , inlaid with black embellishment that framed the bust and mirrored the darker tones below. The intricate beadwork—dense at the top, scattering delicately along the skirt—caught every flash of camera light, moving between metallic warmth and inky shadow.
Gracie Abrams wore a yellow and black custom Chanel tweed jacket with beige trousers at the Chanel Haute Couture show in Paris on January 27, 2026.
Against a backdrop of weeping willows and soft pink staging, Gracie Abrams cuts a distinct figure at the Chanel Haute Couture Spring/Summer 2026 show . It’s Paris, it’s late January, and the usual front row fashion playbook involves sleek black coats or shivering in chiffon. Abrams, however, goes for texture. Her look centers on a Chanel Custom Jacket , a piece of yellow, black, and white tweed so aggressively tactile it practically vibrates. The fabric is shredded at the edges—cuffs, hem, collar—giving it a raw, unfinished energy that feels less like “ladylike Chanel” and more like punkish deconstruction.
She pairs this loud, fuzzy armor with Chanel Pre-Fall 2026 Pants in a neutral beige. They are pleated at the waist , loose but not baggy, grounding the chaotic tweed with a bit of menswear stoicism. On her feet, the classic Chanel Pre-Fall 2026 Pumps — two-tone black and white —peek out, offering a sharp, geometric finish to the slouchy trousers. The jewelry is scattered but deliberate: the Chanel Coco Crush Supple Short Necklace sits quietly at the neck, while her fingers and ear are stacked with Coco Crush Rings and a Single Ear Cuff . Her hair is cropped short, tucked behind the ears, adding to the boyish, elfin charm of the ensemble.
There is a specific kind of confidence required to wear bright yellow tweed in January. It suggests a refusal to participate in the collective gray mood of winter. Abrams navigates this well, balancing the jacket’s volume with the clean lines of the trousers. It’s a look that feels curated but comfortable, a rare intersection for a fashion show guest who knows cameras are everywhere.
