It started on April 10, 1985, at the Paramount Theatre in Seattle, United States, and ended on June 11 of the same year at the Madison Square Garden in New York City.

The store also carried shoes, shirts, denim jackets, large sunglasses, and Madonna’s “signature” accessories: rosary-style necklaces, crucifix earrings, fingerless gloves, and even a replica of her iconic belt, with the metal buckle carved to say “BOY” in all capital letters.

I played a small theater in Seattle, and the girls had flap skirts on and the tights cut off below their knees and lace gloves and rosaries and bows in their hair and big hoop earrings.

Commenting on the development, Madonna said "I normally hate performances where there is just a singer singing, and a lame-ass band playing in the background; or shows where there is a rocker screaming his lungs out and jumping on the crowd.

Maripol operated a small fabric boutique called Maripolitan in Greenwich Village, where the designs and the clothes for the tour were decided by her and Madonna.

Entertainers Merchandise Management Corp. introduced the Boy Toy collection, named after the belt buckle Madonna wore on the Like a Virgin album cover picture.

In 1998, Adam "MCA" Yauch of the group recollected: "One day, Russell Simmons, co-founder of Def Jam Recordings, came in and said, 'Hey guess what—Madonna's manager called.

[12] They were accompanied by their DJ, Rick Rubin, who scratched the music, with The Beastie Boys prancing around the stage, making lewd gestures towards the audience.

The white screen lifted and she is finally seen, wearing a psychedelic denim jacket, a blue see-through crop-top and her characteristic green bra.

[13] She appeared on the stage wearing a black, fringed micro-top and similar skirt, with her belly-button exposed, and a number of crucifixes in different sizes, hanging from different parts of her body.

[17] As the music of the song "Like a Virgin" started, Madonna returned on the stage, wearing a wedding dress, holding a bouquet in her hand and a long white veil behind her.

Accessorized by a white bow atop her head and lacy, three-quarter length gloves, she also had a crucifix on her waistband and another hanging from a long chain around her neck.

[18] Madonna continued singing the song while rolling around the floor, and added a snippet of Michael Jackson's Motown-style single, "Billie Jean".

[18] She returned to the stage in the arms of one of the backup dancers, wearing a boob tube and a tight white skirt, carrying a bunch of notes in her left hand, and a number of garlands around her neck.

[19] Jason Stratley from The Philadelphia Inquirer said that "On stage, wiggling and writhing, a rock-video vision of messy, bleached- blond hair, bare skin, sequined paisley and dime store diamonds was the flash-and-trash rock queen Madonna.

"[12] Rachel Lee from The Sacramento Bee felt that "more than any pop star in recent memory, even Boy George and Prince, Madonna is an image.

"[21] Arthur Daniels from Lexington Herald-Leader felt that "Madonna looked grim, but the fans were delighted when the blond rock star made her first major concert appearance to kick off her 'Virgin Tour'.

"[24] Laura Fissinger from South Florida Sun-Sentinel felt that "'Virgin Tour' establishes Madonna more as a bimbo, rather than the strong, independent woman people think her to be.

"[26] Richard Defendorf of Orlando Sentinel gave a positive review, saying "Madonna's 'Virgin Tour' was very enjoyable and she put her music video charms in her live performances.

"[27] Maya Hathoray from The Miami Herald said that "We know [Madonna is] sexy, exotically beautiful and her funk/pop songs make us want to dance, but on stage, she is extremely tame compared to her raw persona in her music videos.

"[28] Mary Edgar Smith from The Atlanta Journal-Constitution observed that "It was obvious from the apparel of the young girls at last week's Virgin Tour concerts in Tampa and Orlando, Fla., that the 26-year-old singer [Madonna] had more to give to the music world than what others suggest.

"[29] Stephen Holden from The New York Times commented, "While her pubescent lookalike fans cheer approvingly, the star's manipulation of such symbols as a wedding gown, a cross, furs and jewels becomes a lighthearted communal psychodrama.

Madonna has brought traditional little girl's games of dress-up and playing with dolls (using oneself as model) into the television age by turning them into a public spectacle.

"[14] A review in Variety by John Gleeson said that "Madonna's singing was like a soundtrack to a more visceral display of herself, her persona, her nonstop dancing and her surprisingly explicit sexual dare, which included a visual climax—so to speak—to every other song.

"[38] Terry Atkinson from the same paper said, "This follows the typical concert video format of putting you in the best seat in the hall and letting the aura of a superior performer encaptivate your senses.

"[39] Joe Logan and Gail Shister from The Wichita Eagle said that "seeing Madonna live in an arena and seeing her up, close and personal in the tour cassette is totally different.

[17] Debbi Voller, author of Madonna: The Style Book, observed that "Hundreds of thousands of young girls came to the concert dressed like her, with bleached and tousled hair, see-through tops, bras, fingerless gloves and crucifixes.

"[17] While the tour was going on, the American lingerie industry reported that their turnover was suddenly up by 40 percent and that Madonna's image was responsible for this underwear revival.

[7] Sam Gower from Rolling Stone commented, "In the sixties, women burned their bras, now they wear five at a time, and bare their belly buttons.

[46] In 2024, in conversation with Conan O'Brien, surviving Beastie Boys member Michael "Mike D" Diamond commented that "[Madonna] booked the tour and she was playing like theaters.