From the Versace dress seen around the world to the Ralph Lauren Gown she wore to wed ben Affleck, Jennifer Lopez takes Vogue on a walk down fashion memory lane.
Jennifer’s "This is Me…Now" album and This is Me..Now: A Love Story (Prime Video) are out now. Her newly announced tour is on Pre-Sale now and tickets go on sale on Friday, February 23.
"The Greatest Love Story Never Told" releases February 27 exclusively on Prime
Director: Jameer Pond
Director Of Photography: Vivian Lau
Editor: Evan Allan
Producers: Qieara Lesesne, Gigi Chavarria, Naomi Nishi
Associate Producer: Lea Donenberg
Associate Producer, On Set: Amy Haskour
Assistant Camera: Ariana Hoshino
Gaffer: Kishan Patel
Audio: Kari Barber
Production Assistants: Becca Guzman, Lauren Boucher
Production Coordinator: Ava Kashar
Production Manager: Natasha Soto-Albors
Line Producer: Romeeka Powell
Senior Director, Production Management: Jessica Schier
Assistant Editor: Andy Morell
Post Production Coordinator: Ian Bryant
Supervising Editor: Erica DeLeo
Post Production Supervisor: Alexa Deutsch
Director, Video Talent: Lauren Mendoza
Director, Content Production: Rahel Gebreyes
Senior Director, Programming: Linda Gittleson
VP, Digital Video English: Thespena Guatieri
Image Craig McDean / Art + Commerce
Filmed at Four Seasons Hotel Los Angeles at Beverly Hills
Jennifer’s "This is Me…Now" album and This is Me..Now: A Love Story (Prime Video) are out now. Her newly announced tour is on Pre-Sale now and tickets go on sale on Friday, February 23.
"The Greatest Love Story Never Told" releases February 27 exclusively on Prime
Director: Jameer Pond
Director Of Photography: Vivian Lau
Editor: Evan Allan
Producers: Qieara Lesesne, Gigi Chavarria, Naomi Nishi
Associate Producer: Lea Donenberg
Associate Producer, On Set: Amy Haskour
Assistant Camera: Ariana Hoshino
Gaffer: Kishan Patel
Audio: Kari Barber
Production Assistants: Becca Guzman, Lauren Boucher
Production Coordinator: Ava Kashar
Production Manager: Natasha Soto-Albors
Line Producer: Romeeka Powell
Senior Director, Production Management: Jessica Schier
Assistant Editor: Andy Morell
Post Production Coordinator: Ian Bryant
Supervising Editor: Erica DeLeo
Post Production Supervisor: Alexa Deutsch
Director, Video Talent: Lauren Mendoza
Director, Content Production: Rahel Gebreyes
Senior Director, Programming: Linda Gittleson
VP, Digital Video English: Thespena Guatieri
Image Craig McDean / Art + Commerce
Filmed at Four Seasons Hotel Los Angeles at Beverly Hills
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PeopleTranscript
00:00 Hi Vogue, this is Jennifer Lopez and this is my life in looks.
00:03 Well this is me as a Fly Girl on In Living Color. This was actually the second or third season.
00:13 This wasn't the original Fly Girls. This was like the Fly Girls 2.0 if you will. The whole thing
00:19 about the Fly Girls really was their fashion. I believe Michelle Cole was the costume designer
00:25 on the show and she was really about giving them kind of a couture look, not totally like hip-hop
00:32 or street. Having an essence of that but really kind of elevating it and making it more Vogue
00:38 if you will. This is one of my favorite looks from Selena. This is where we sang that whole
00:44 bitty bitty bomb bomb montage. Selena had a lot of great looks but everything was kind of like
00:49 just a plain bra and the leggings and it would be a kind of always a bejeweled bra but this one had
00:54 like was a little bit more interesting and she would kind of make all her own costumes. I don't
00:59 know if she made this one but it was pretty great because now she added like the superwoman cumber
01:03 bun thing to it and had like the straps on it and it was a little bit more of a costume actually.
01:09 Obviously this is what has become now the famous green Versace dress that I wore you know 20
01:17 something years ago now. I wore it to the Grammys. It was a dress that other people had worn already.
01:23 You know my stylist was like please don't wear it somebody else has worn it. I was like well you
01:27 bought it and it looks the best so I'm gonna wear it and so I did and it caused you know quite a
01:33 stir. I think it's always been a collaboration with all the stylists that I've worked with. I've
01:38 worked with Audre Lieberman for many years and then I've worked with Robyn Mariel up until the
01:42 present and it's always been a collaboration. I guess every generation needs its iconic
01:49 kind of Marilyn dress and this is that dress for this generation. Why it became that it was just
01:55 a moment you know when the wind blew open and I walked out onto the stage and it just kind of
02:00 happened. Oh this is a favorite Halloween costume of a lot of people. This is me at the MTV awards
02:09 when I won for best rap collaboration. Again this is one of those things where I had like this big
02:14 gown and everything. Diddy at the time who was called Puffy was like you need to just wear a
02:21 pair of jeans, white jeans and a t-shirt and I was like what? But I kind of liked it so I put it on.
02:29 My stylist gave me this bandana and it was it was actually a very cool moment. I know it's MTV
02:35 awards and I should get like real dressed up but instead I'm just gonna wear a pair of low-rise
02:38 jeans and a cut off tank top. This is from one of my music videos from I'm Real. This is a funny
02:45 story because again one of those moments where the stylist brings all these clothes and then I
02:51 want to wear the free juicy sweatshorts that were sent for me for my personal life so that's what I
02:58 did. I like baby hairs and big hoops and gold jewelry. Buns, muñitos we used to call them
03:04 which was very kind of a Puerto Rican thing to do. It's like moms used to put bun and the baby hairs
03:09 and the hoops and the name plates and all that and all that became kind of signature part of my style.
03:16 I always kept that kind of urban street wear thing with Timberlands and with Adidas sneakers and I
03:23 always stick with those things because it just feels like me. It feels like the Bronx. It feels
03:27 like Lil' Jenny. This is a This Is Me Then album cover. Again kind of classic style for me. Like a
03:35 normal top and a little pair of shorts and throw a beanie on because I love it. It's like I always
03:41 kind of did things that felt good to me and then we designed around that and I think that is the
03:49 key. This wasn't something that people were doing at the time but it wound up defining that time
03:55 and definitely defining my moment in that time. So I love this. This is one of my favorite album covers.
04:01 This is amazing kind of very classic shot. I love this. I love menswear first of all and I love when
04:12 people try to kind of reinvent you. You know I was known for kind of like the long kind of flowy
04:18 honey-colored hair. Here they kind of like pulled my hair back and made it look dark and made me
04:24 more masculine and I really enjoy kind of that vibe. I actually really like menswear. I fancy
04:31 myself very masculine at times wearing jeans and timberlands and big coats and stuff and baggy
04:38 clothes. I love that whole vibe so I was very into this. I remember this Vogue cover. This is 2012.
04:45 I love this. We shot this with Matt and Marcus. You know I'm not a big red lip person but having the
04:51 red lip here they made it look so beautiful and my hair was a little bit darker at that time and
04:56 with the beach in the background they just really created a beautiful image. This was another Versace
05:04 moment at the Met and anytime I get to go to the Met with Donatella I really enjoy it. She's a lot
05:10 of fun and they're so kind of like generous with creating looks for me and this was called the
05:16 dragon dress. As you can see there's like a dragon. This is the Hustlers poster. I actually really
05:22 like this. I don't like all my movie posters but this one I really loved. I thought this was
05:27 perfect. Actually when I was researching Hustlers I went to a strip club and I remember this kind of
05:34 image of this girl kind of standing outside in the cold with a with a big coat and a cigarette
05:41 and I was like well there's Ramona right there which was my character in the movie and I said
05:46 you know when we were shooting the scene I was like I want to be in a big fur coat outside with
05:51 a cigarette. That is definitely the vibe for her and we used that and it's actually one of my
05:57 favorite scenes in the movie. This is obviously the Super Bowl. Another Versace moment. They dressed
06:04 me and all of the dancers in my set. They sent me so many beautiful sketches. I had an idea to kind
06:10 of do a Peter Lindbergh inspired look for the girls and with the little you know motorcycle
06:19 hats and the leather and all of that and I told them I want to do quick changes on stage. I only
06:24 have only six seven minutes but I want to do like three or four different outfits and they're like
06:28 what and I was like yeah and we accomplished it. We did it and it was amazing so kudos to Versace.
06:36 Oh here's a nice little Chanel moment. This was at the inauguration and we went for a very kind of
06:41 classic beautiful look. I was very happy to be there. I was very happy to be Latina and
06:45 representing Latinos in that moment. This was a really proud moment for me and for my family.
06:51 They were kind of embracing everything that I wanted to do. It was an amazing amazing beautiful
06:56 moment. This is Ralph Lauren. This was my wedding day. We got married down in Savannah and I wanted
07:04 it to kind of be traditionally Latin but also kind of southern bellish at the same time. If there's a
07:11 mix of that they certainly accomplished it with this dress. It was a beautiful dress.
07:15 I had a huge long train that was so hard to walk in. It was so heavy. He made me three dresses for
07:21 my wedding so I had one for the ceremony, one for the reception and one for a song that I was going
07:28 to sing at the reception. And they were all very classic but very different and beautiful.
07:35 This is I guess my third Vogue cover. I shot this with Annie Leibovitz who I love working with,
07:42 who I find to be a genius. She had a very specific as she always does idea about what
07:48 she wants to shoot and how she wants you to be in the picture and how she wants you to look and
07:53 she really creates timeless perfect images. I mean the attention to detail that she has is really
08:01 unmatched. I've never met another photographer like that and I'm always happy to be in front
08:07 of her lens. There was like a little box underneath me that I could rest on because my arms would get
08:12 tired but as I'm looking at this now I realize it was a real precursor to the This Is Me Now
08:17 experience with the red flower and this would be a perfect cover for right now. It's funny how
08:24 things like that happen. The Golden Globes this year. This was a Nicole and Felicia again entering
08:33 my hearts and flowers era, my hummingbird era. We had hummingbirds on my ears and flowers here in
08:40 the pink cape that accompanied this dress. It was perfectly beautifully tailored by my personal
08:46 tailor Anna who is a genius. We had a lot of options to wear for the Golden Globes but at
08:53 the end of the day this one felt the most kind of stunning and red carpet. This is from the other
09:00 night at Saturday Night Live. This was kind of a thrown together outfit. There was a little jacket,
09:06 there was a little top, there was these pants. I just kind of liked them all together. I started
09:12 kind of mismatching things. Me and my stylist Rob, we were just like had different ideas of what we
09:18 wanted the outfit to be and then at the end of the day everything kind of felt a little busy
09:22 and kind of not like you could really rock with it and so we decided to go with a very kind of
09:28 clean look. I really love this. It made me feel real comfortable. I could kick and dance and do
09:33 all the things that I wanted to do and this was the other song I sang that night. This is when I
09:38 sang "Can't Get Enough." This is when I sang "This Is Me Now." Here we go. This is one of the album
09:44 covers for "This Is Me Now." Norman Jean Roy shot all the album covers. His photos are very classic
09:51 and that's what I wanted with this album when I think about it being kind of a 20-year project
09:56 starting from "This Is Me Then" to "This Is Me Now" and how kind of timeless that other picture
10:03 looks. I wanted that to be "This Is Me" right in this moment now in the most classic kind of clean
10:09 way. "This Is Me Then" was a moment in time that was captured, that was inspired by you know falling
10:17 in love at that time and I never expected to be making a "This Is Me Now" album. When I got a
10:23 second chance at that later on in my life 20 years later it just really made me inspired to go back
10:30 in and make music again. I really feel like it was destiny. Thank you so much Vogue. That was a
10:38 nice trip down memory lane. My fashion memory lane. Bye.
10:42 [music]
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