It’s not every day someone walks into the Louvre and becomes… the Louvre. But leave it to Broadway’s most theatrical fashion collector and couture chameleon, Jordan Roth, to turn one of the world’s most iconic landmarks into a literal look.
At Paris Haute Couture Week in July 2025, while others sashayed down traditional runways, Roth took a grander stage—the Cour Marly of the Louvre Museum—and put on a performance titled Radical Acts of Unrelenting Beauty. And that title wasn’t exaggerating. Because by the end of it, he had become a pyramid. Not metaphorically. Literally. A wearable Louvre Pyramid.
From Museum-Goer to Museum-Wearer
Act I began modestly—if your idea of modesty involves sweeping robes and projection-mapped Galliano couture lighting up your body like a moving mood board. With the grace of a high priest and the flair of a seasoned showman, Roth moved through a three-act ritual that slowly unfolded like a couture Russian doll—each layer more gasp-worthy than the last.
Act II? Wings. Massive, heavenly wings. Not the flimsy, angel-at-the-Christmas-play kind—these were sculptural, operatic, and spanned wider than a front row at Chanel. If Act I was fashion’s history lesson, Act II was its flight into myth and self-transcendence.
The Grand Finale: Dressing Like a Landmark
Then came Act III, the pièce de résistance: as if whispering “you thought this was dramatic before?”, Roth’s gown transformed—rigged, raised, and re-shaped into a gleaming, three-dimensional glass pyramid. His silhouette stretched skyward, catching light like I.M. Pei himself had a hand in the tailoring.
This wasn’t just a nod to the Louvre—it was a full couture embodiment of it. A fusion of structure and softness, performance and permanence, history and now. The result? A wearable monument to art, identity, and the audacity of haute couture when given the freedom to dream big (and budget bigger).
Why It Mattered (Beyond the Obvious Drama)
Because fashion, at its most powerful, doesn’t just clothe—it transforms. Roth’s performance wasn’t content with inspiration; he went for full architectural possession. He wore the Louvre the way some wear sequins: unapologetically, dazzlingly, and with an eye-roll for anyone calling it “too much.”
It was also a love letter to fashion as living art—fashion that doesn’t just sit behind glass but becomes the glass. Transparent. Reflective. Larger than life.
In a week where every designer fought to leave a mark, Jordan Roth didn’t just leave one—he became the mark. He turned a building into a gown, a gown into a stage, and a performance into a permanent place in fashion history.
The moral of the story? If you can’t get into the Louvre… wear it.
