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The day of Cynthia Erivo’s seventh Met Gala begins just like most other days—a morning run, followed by an infrared sauna blanket. She’s considering a facial, some music…“and tea,” she says, “lots of tea.”
As she shimmies into her slashed, contoured Givenchy corset and airy tulle skirt at the Mark Hotel, creative director Sarah Burton’s vision becomes clear. “Sarah and I sat together and looked at archive pieces and her most recent runway,” Erivo tells Vogue. “She and I both saw how they could merge to make something quite special, so we put her runway, the archive [looks by] McQueen, and Sarah’s Givenchy looks together and found something quite magical. Sarah’s brain is unlike any other.”
“For me, it was important that it was a very collaborative experience,” adds Burton. “As Cynthia put on the sliced jacket from my last show, I was struck by how incredibly powerful she looked and how she held the silhouette in a completely new way.”
“Working together, we wanted to include very precise couture tailoring—sharp silhouette, strong shoulders,” continues Burton, “and as the process evolved, we decided to balance this structure, playing with the shape and proportion of the skirt.”
It all began with the silhouette. “With the couture atelier, I took the sliced jacket from the show and moulded it onto her body, balancing the exploded shoulders and slashed neckline with the corset to enhance her waist,” explains Burton. “I love the juxtaposition of the severity of the tailoring with the softness of the multilayered black tulle skirt that felt like a cloud. We engineered the embroidery onto the jacket, [bringing the] crystals from the neckline to the low hip. What’s amazing about working with Cynthia is her understanding of all these couture techniques.”
When considering the “Tailored for You” theme, Erivo is reflective. “What I love about this piece is that it isn’t obvious in the immediate how it fits with the theme,” she says. “However, the top half of this piece is Sarah‘s incredible way of subverting the narrative around suiting… it is completely tailored and the spark that brings me joy.” Erivo points to how the look references both dandies of the Rococo period—with their frills, pantaloons, and ornate adornments—as well as more modern visions. “If you take a look at Joseph Bologne, Chevalier de Saint George, and fast forward to Prince, you will notice the similarities: frock coats, bloomers, frills. We have essentially deconstructed the Rococo style of dandyism.”
The biggest challenge for the Givenchy team was the construction of the jacket so that it held the sharp, sculpted shape without collapsing—despite being open at the front and back. The corset is traditionally built and fully boned, and Givenchy’s couture atelier used age-old couture techniques that evolved into something powerful and modern. It took 950 hours to make the look, from the toile to the final result. The embroidery required over 43,400 Swarovski crystals, and demanded approximately 1,300 hours of work by 40 artisans.
What has it been like working with Sarah on this look? “In a word: Divine,” Erivo says. “Sarah is an unbelievably generous human being, and is kind enough to entertain my absolute obsession with not just the wearing of fashion, but the making of it. She’s been overwhelmingly collaborative, and I’m deeply grateful for it.”
It means a great deal to Erivo to be a part of this new era for Burton, who took up the Givenchy mantle in late 2024 and debuted with an acclaimed, modern take on femininity. “To be part of the beginning of something is always special, but to be part of the beginning of an era with someone who I consider to be a genius is, well, priceless,” says Erivo.
In terms of glam, Erivo works with her go-to makeup artist, Joanna Simkin. Together, they’ve created a look that feels both contemporary and of the artistic and cultural movement of the early 18th century. “We have decided to stick with the tones of my face to create a more masculine feel, but of course there will be some playfulness involved.” Her iconic, lengthy nails—always pieces of art themselves—are in the hands of nail artist Mycah Dior.
Erivo will walk the red carpet with Burton. “It feels like it might be a moment in time that I won’t forget,” Erivo says. Once inside, she’ll be straight to the Costume Institute’s “Superfine: Tailoring Black Style” exhibition, its heft not lost on her. “I think it’s a very special thing that we can celebrate the ingenuity and creativity of black men and women through fashion.”
“We really wanted to go back in time a bit to the start of dandyism, where, for people of color, the act of tailoring and dressing was seen as an act of resistance and defiance to oppression,” says stylist Jason Bolden. “Cynthia’s look combines elements of old-world and Victorian tailoring, along with sharp modern lines and silhouettes to interpret our version of a modern-day dandy.” Accessories are kept sleek and clean to let the dress shine as a work of art, while Bolden and Erivo worked closely with Givenchy to design her custom boots.
“Fit is always everything for Cynthia,” says Bolden. “She knows tailoring and has a huge love for the art. She wanted to amplify that in Cynthia fashion, with a perfectly corseted gown. As time went on, Sarah and the team at Givenchy were able to take that idea and build on top of it.”
“To me, Cynthia embodies creativity and bravery,” adds Burton. “She is uncompromising in her vision and choices. She’s an extraordinary talent in theater, film, and music—there’s nothing she can’t do, and there is no one like her. She understands herself and how clothes tell stories. Dressing her for the Met Gala is a great honor.”
“Cynthia is a pro,” affirms Bolden. “She knows exactly what to do, so for us, it’s easy. The only help she will need from me is assistance fitting in the elevator.” And with that, Cynthia Erivo is out the door of The Mark.
This article was originally published on Vogue.com.
