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South China Morning Post
18-07-2025
- Entertainment
- South China Morning Post
Meet Jordan Roth, who just did a live art installation at the Louvre: the Tony Award-winning Broadway producer was behind Hadestown and Kinky Boots, and is the son of billionaire realtor Steven Roth
Edgy Broadway producer Jordan Roth has once again redefined creative boundaries with Radical Acts of Unrelenting Beauty, a trio of groundbreaking live performances held at the Louvre on July 10. The performances were part of La Nuit de la Mode, an evening celebrating the Louvre's first-ever major exhibition of haute couture. Collaborating with president of the Louvre Laurence des Cars, Roth transformed the iconic museum into a living canvas, with elements of the space and its art projected onto various couture pieces. The moment wove fashion, movement and storytelling into a singular immersive experience. Advertisement The work was structured as three vivid tableaux: Red, Wings and Pyramid. Red was an evolving projection of colour and movement onto John Galliano's iconic Dior empress gown, while Wings featured projections of 49 images of wings from the Louvre's collections, from The Winged Victory of Samothrace sculpture, to Raphael's painting of Saint Michael. Pyramid referenced the changing sky above I.M. Pei's glass pyramid structure and 25 paintings in the Louvre's collections. 'From fabric to pyramid, dress to architecture, the boundaries between the exterior and interior world collapse,' Roth wrote on his Instagram of the final piece in the tableau. Jordan Roth at the 2025 Met Gala in New York in May. Photo: @jordan_roth/Instagram Earlier this year, Roth made a striking entrance at the 2025 Met Gala . Described by Vogue as a 'sartorial mic drop', his avant-garde outfit by LaQuan Smith featured draped beading, sweeping black flares, and accessories including a diamond bow tie, a layered hat, and nearly 10-inch heels. The influential Tony Award-winning Broadway producer is now venturing into the fashion art industry and currently serves as the creative director of ATG Entertainment. Here's everything you need to know about Jordan Roth. He's a seven-time Tony Award winner Jordan Roth at the Tony Awards in June. Photo: @joran_roth/Instagram As a producer, Roth has won a total of seven Tony Awards for shows including Hadestown, Kinky Boots, Moulin Rouge: The Musical!, Angels in America and Clybourne Park. He is also the president and majority owner of Jujamcyn Theaters, a major Broadway group overseeing five prestigious venues in New York City. In 2001, Roth revived the 1975 Broadway hit The Rocky Horror Show, for which he and the cast earned four Tony Award nominations. He also produced The Donkey Show, an interactive disco-themed adaptation of A Midsummer Night's Dream that combined theatre and nightlife and ran off-Broadway and internationally for six years.
Observer
15-07-2025
- Entertainment
- Observer
This Is What Fashion Needs Now
The last time Maison Margiela held an 'artisanal' show, the brand's version of couture, it shook the fashion world. That was back in January 2024. John Galliano was creative director, and his theatrical vision of smoke-filled cafes and nighttime assignations had attendees swooning in delight and shrieking genius. So it was pretty audacious, all things considered, for Glenn Martens, the new designer of the brand, to decide that his first coed show — and the first Margiela show of any kind since Galliano's — should also be couture. Good thing it offered some genius of its own. An exhilarating, multidimensional, occasionally misguided explosion of ideas, it was the most propulsive show of the week; a scream of originality amid collections and designer debuts that have largely offered well-calibrated wearability. It was extreme in its imagination and technique (sometimes too much so), but never namby-pamby. It's what fashion needs. Even if it did not begin well. Held in the same underground warren of concrete rooms where Martin Margiela, the founder, had staged his last show in 2008, it began, in fact, with two women in transparent plastic dresses. Their hands were trapped at the waist beneath their pencil skirts, their faces encased in plastic masks. Masks were a Margiela signature — he thought they served to focus attention on the clothes — but here the models looked as though they were suffocating. It was painful to see, and seemed even more painful to wear, whether or not it was conscious commentary on the state of women in the world. Just as the outrage was beginning to bubble up, however, out came a figure in a sweeping, mud-color cloak, with the inside of the hood and its matching mask covered in dark crystals. That was followed by a series of three gowns in bronze, gold and silver made from aged duchesse satin that swirled around the bodies like storm clouds, and it was clear we were in a whole different universe. From there, things just got wilder. Patchwork skirts and jackets that suggested elaborate ruined wallpaper, or pages from a diary, were peeling back at the seams. Flowers sprouted up out of prints like still lifes run amok. One dress made from more than 10,000 pieces of gold costume jewels looked as though a giant magnet had walked into a pawn shop. A skirt seemed composed of an entire flock of pigeons that had collided midflight. T-shirts were speckled with crystal shards, as if they had clawed their way out of the center of the earth. Imagine the weather gods had come down to Earth during medieval times, started collecting both heraldic tapestries and Flemish flower paintings, and then marauded their way across the centuries to join Hell's Angels for the fall of the Berlin Wall. This is how they might look. History was layered on top of texture on top of reference; preciousness rooted in the memories each piece seemed to contain. Rather than, say, the number of bugle beads. It was couture, but not as it has existed anywhere else. Except maybe in the archives of Margiela, where value always rested in the potential of found objects. And it was spectacular. Mostly. A series of gowns in flesh-tone jersey so thin as to expose the corset and bones beneath simply transformed the wearers into skeletal wraiths, while wire belts with corseted backs seemed more like garrotes for the waist. And it was impossible to look at the masks that accompanied every look — in hammered metal or gleaming crystal, no matter — and not think of the way masks are being used around the world. As with the state of women, facial coverings have taken on a complicated political meaning in the present day, and no matter how fantastical fashion may be, it is not exempt from the shadow of current events. Ultimately, choosing to obscure the models' faces detracted from the humanity that otherwise permeated the clothes. You may like the masks or hate them, but like the feral, unbridled nature of the collection itself, it was impossible not to react to them. Which, given how dulled everyone's senses have become by the never-ending stream of imagery in which we all exist, is Martens' magic. At the end of the show, guests were ushered upstairs for a celebration, where waiters holding drink trays lined the way to a room full of multicolored balloons piled neck-deep. Jaded fashion editors waded in, laughing in their stilettos. That was magic, too. —NYT
New York Times
10-07-2025
- Entertainment
- New York Times
This Is What Fashion Needs Now
The last time Maison Margiela held an 'artisanal' show, the brand's version of couture, it shook the fashion world. That was back in January 2024. John Galliano was creative director, and his theatrical vision of smoke-filled cafes and nighttime assignations had attendees swooning in delight and shrieking genius. So it was pretty audacious, all things considered, for Glenn Martens, the new designer of the brand, to decide that his first coed show — and the first Margiela show of any kind since Mr. Galliano's — should also be couture. Good thing it offered some genius of its own. An exhilarating, multidimensional, occasionally misguided explosion of ideas, it was the most propulsive show of the week; a scream of originality amid collections and designer debuts that have largely offered well-calibrated wearability. It was extreme in its imagination and technique (sometimes too much so), but never namby-pamby. It's what fashion needs. Even if it did not begin well. Held in the same underground warren of concrete rooms where Martin Margiela, the founder, had staged his last show in 2008, it began, in fact, with two women in transparent plastic dresses. Their hands were trapped at the waist beneath their pencil skirts, their faces encased in plastic masks. Masks were a Margiela signature — he thought they served to focus attention on the clothes — but here the models looked as though they were suffocating. It was painful to see, and seemed even more painful to wear, whether or not it was conscious commentary on the state of women in the world. Want all of The Times? Subscribe.
Hypebeast
05-06-2025
- Entertainment
- Hypebeast
LA MUSEUM To Exhibit Vintage Archives of Margiela, Comme des Garçons and More
Summary LA MUSEUM, a virtual museum founded by LAILA, will be holding their second physical exhibition in Shibuya running from June 14 to June 29. Following the success of their debut show 'Villa in the Forest' — an exclusive event limited to just 30 guests — 'LA MUSEUM SHIBUYA' acts as a second part of their exhibition marks a shift. Still free of charge, it will now be open to the public via access through the LA MUSEUM app. This time, the spotlight is on fashion from the 1980s onward, featuring iconic works by Japanese designers such asComme des Garçons,Yohji YamamotoandIssey Miyake, as well as international icons likeHelmut Lang,John Galliano,Alexander McQueenand members ofthe Antwerp Six. Highlights include two rare sketchbooks detailing the design process behind the Spring/Summer 1993 and Fall/Winter 1993 to 1994 collections, alongside a screening of a video work first presented atLafayette Anticipationsin Paris in October 2021. The exhibition will also showcaseMaison Martin Margiela'scollections from his debut through 1999, with key pieces from each season. With such a rich lineup, LA MUSEUM's upcoming exhibition promises an unforgettable deep dive into fashion history — and possibly even more to anticipate. LA MUSEUMB1F, Token-Nagai Building2-12-24 Shibuya, Tokyo
Tatler Asia
31-05-2025
- Entertainment
- Tatler Asia
Mid-year fashion review: Why ‘Newstalgia' is the most personal trend of 2025
Above Saint Laurent autumn 2025 fashion show at Paris Fashion Week The assertive tailoring once synonymous with 'power' and corporate core has shifted towards something more fluid, without losing its edge. The sharpness remains, but it's softened—evident in Bottega Veneta's sculpted but unpadded jackets and The Row's languid blazers that slip over the body like silk robes. At Saint Laurent, the shoulder retains its presence, but is offset by diaphanous sheer blouses or fluid trousers. Oversized blazers still rule, but they've softened, often cinched at the waist or rendered in fluid tailoring that moves with the body. Above Saint Laurent autumn 2025 fashion show at Paris Fashion Week Above Saint Laurent autumn 2025 fashion show at Paris Fashion Week Transparency is everywhere, but this time, it feels deliberate, imbued with nuance rather than provocation. Sheer has evolved from spectacle to subtlety. At Loewe, whisper-fine feathered knits reveal more than warm. Alaïa's gauzy overlays add dimension, not exposure. In climates like Singapore, this airy approach to layering is both stylistic and strategic—less trend, more practicality wrapped in elegance. Above Loewe spring-summer 2025 fashion show at Paris Fashion Week Above Loewe spring-summer 2025 fashion show at Paris Fashion Week Voluminous silhouettes have held steady, but their purpose has shifted. No longer just maximalist statements, they've become more about ease, airiness, and emotion. JW Anderson and Simone Rocha experiment with volume as play—dresses that swing, balloon, or crumple, inviting a tactile connection. Even Saint Laurent's fuller midi skirts feel grounded in functionality, echoing the mid-century with just enough tension to feel current. There's also a richness to the materials: suede in sun-washed hues, fluid silks, featherlight faux furs. Celebrities have already embraced the return of high-glamour opulence (we predicted this back in January), stepping out in gilded accessories and floaty silhouettes that photograph like a dream. Above Saint Laurent autumn 2025 fashion show at Paris Fashion Week Parallel to the rise of Newstalgia is a growing obsession with the archive. No longer just the domain of collectors or fashion historians, archival fashion has found new cachet with consumers seeking pieces that tell a story. Helping to fuel this movement are the celebrities who wield nostalgia with ease. Zendaya in archival Versace, Jenna Ortega reviving John Galliano's Dior newspaper dress worn by Carrie Bradshaw in 2010. Above Jenna Ortega in John Galliano's newspaper Dior dress from the autumn-winter 2000 collection Above Sarah Jessica Parker's character Carrie Bradshaw wears the newspaper Dior dress in 'Sex and the City' (2010) When a red-carpet look references a specific fashion era, it invites viewers to recontextualise their own wardrobes. Suddenly, that old Fendi baguette or a pair of kitten heels from the early noughts feel fresh, rather than a fashion homage. Vintage shopping, once niche, has become integral to luxury consumption, not only for its sustainability but for its uniqueness. In a market saturated with sameness, a rare piece from a past collection feels meaningly and undeniably exclusive. Above Zendaya in vintage Versace autumn-winter 2001 collection Ultimately, what's most compelling about Newstalgia is how personal it feels. Nostalgic fashion trends hinge on how they're styled—it isn't about dressing like your mother (or grandmother); it's about taking the best bits of their wardrobes and making them yours. Looking ahead, this softened approach to nostalgia is unlikely to disappear. If anything, expect designers to lean further into reinterpretation in the upcoming spring-summer 2026 presentations—exploring ways to honour heritage while responding to the urgency of now. Pre-fall previews suggest a continued fascination with volume, along with a refined palette of neutrals and unexpected pastels that feel grounded rather than whimsical. Credits
