Every year, Jordan Roth—the president of Jujamcyn Theaters on Broadway—is one of the Met Gala’s most theatrical guests. No matter the theme or dress code, Roth brings dramatic flair to the occasion. (Last year he transformed into a human fan courtesy of a sculptural Schiaparelli design, an homage to Karl Lagerfeld and his signature accessory.) For this year’s Garden of Time dress code, then, it was only natural that Roth and stylist Michael Philouze chose a floral-inspired ensemble. Still, his was much more unexpected and avant-garde than your average floral dress or suit—thanks to Roth’s choice of a “decaying” hooded cape.
Roth’s couture cape was designed custom by Valentino; it’s the last couture pieces that former creative director Pierpaolo Piccioli designed for the house before stepping down in March. The design was inspired by the life cycle of a flower, from its initial blooming to its withering and decaying breakdown. “I found [this theme] achingly poetic,” says Roth. “I immediately wanted to make a piece about the life cycle, using the life cycle of a flower as a metaphor. I imagined a piece that, from the top of my body, would start as green buds, then bloom into a flower of color, and then turn brown and go back into the earth.”
Over 20 meters of brown tulle was used for the base of the cape, and then 120 meters of silk taffeta—in 17 different colors—were used for the roses and leaves applied overtop. Additionally, the leaves were made from eight meters of lacquered dark green fabric. The 3D roses alone took more than 1,800 hours of work and the cape 600 hours. “Pierpaolo and the atelier have a commitment to building emotion and narrative through color,” says Roth. “It’s not just greens and pinks—it’s five different greens, five different pinks.”
Just as the striking piece evokes the life cycle of a flower, Roth was also moved by the fact that the cape would be Piccioli’s final Valentino couture design. “It added another layer of meaning for what this piece is,” says Roth. “Again, it’s about the life cycle and transition. And, of course, there is sorrow, in that extraordinary chapter of the house being done.” When Roth slipped it on during the final fitting, it fit the exact vision he had from the outset. “I felt whole and honest,” says Roth, “and I felt like I had a new understanding of what beauty could be.”
Below, see more exclusive photos from Roth’s fittings and Met Gala night.
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