Paris Couture Week is undeniably the most important moment in the fashion calendar. It's a time when designers push the boundaries of imagination, creating clothes that are more sculptures than closet, and fashion becomes the language of art, emotion and daring. But even in this opulent world full of theatrical shows and extravagant silhouettes, there are moments that take your breath away. Such a moment was created by Jordan Roth - Broadway producer, haute couture collector and performative style icon - closing Paris Fashion Week with a show that can hardly be called anything other than visionary. For his latest look, Roth literally took on the Louvre, transforming its famous glass pyramid into a monumental skirt.
It wasn't styling, it was a statement. The creation in which he appeared resembled a huge spatial structure - geometric, transparent, made of shiny triangular panels that directly alluded to the structure of the glass Pyramid of the Louvre by I. M. Peia. The whole thing looked as if a piece of architecture had been moved and set on a human body. Roth became a living sculpture - a bridge between fashion and art, between clothing and cultural space. The performance took place in the museum's courtyard, a place where the everydayness of tourism gives way to symbols and history. In the quiet of its monumental surroundings, its presence had something ceremonial, almost sacred.
Roth doesn't wear clothes - he stages them. Each of his performances is a manifestation, in which fashion becomes a medium for expressing identity, emotions and ideas. His approach to clothing is more like theater than an everyday closet - unpredictable, bold and total. Unlike many celebrities who treat style as an element of self-promotion, Roth treats fashion as high art. He is not concerned with the look, but with the message. The Louvre-inspired creation was the best proof of this - it was neither practical nor utilitarian, but at the same time fully functioned as an act of communication. In his gestures, in the way he moved through this architectural form, one could sense an awareness of every detail. Nothing was accidental.
The choice of location here was not just a backdrop. The Louvre, as one of the world's most important museums, symbolizes not only art and history, but also power, European heritage and an elite canon of beauty. Roth, as a queer artist from New York, entered this context not as a visitor, but as an equal creator. In this creation, in this speech, there was a kind of symbolic revision - fashion was placed on an equal footing with art, clothing with architecture, the body with history. It was a moment in which boundaries blurred completely.
In a world where fashion increasingly succumbs to speed and simplification, Roth proposes the opposite: a celebration of individuality, multilayeredness and contemplation. In his interpretation, style becomes a philosophical language. He is not afraid of monumentality or pathos, because he knows that in theater - and fashion is his stage - everything is allowed. And when this theater takes place against the backdrop of the Louvre, the game is no longer just about visual effect, but about symbolism and cultural memory.
What Jordan Roth did was not just a styling gesture. It was an artistic act, showing that fashion can become a full-fledged part of the dialogue of high culture. It can be a voice that resonates between marble and glass, between classic and modern. It can be a living art form - changeable, sensual and thinking.
And maybe that's why, when we ask who could wear the Louvre and look like a manifesto for the future of fashion in the process - the answer is only one. Jordan Roth. He doesn't follow trends, he doesn't follow patterns. He creates them, breaks them down and transforms them into something that stays in the memory long after the show is over. In Roth's world, fashion is not for wearing. She is for experiencing.
Photos courtesy of ENZO POLY
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