#ilona

Her dark pop spectacle opened with a haunting visual interlude titled “The Manifesto of Mayhem”—a cinematic overture that reintroduced the world to Mistress Mayhem, Gaga’s latest alter ego.

Bathed in crimson light and surrounded by shadows, Gaga emerged on the screens in a rare archival piece: a bondage-inspired black leather straitjacket from Dolce & Gabbana’s Spring/Summer 2003 collection. The jacket, adorned with a grid of heavy buckles and silver hardware, set the tone for the night—iconoclastic, provocative, and entirely in control.

The black draped satin skirt was done by Samuel Lewis.

The incredible black mesh boater hat with rubber barbed wire around was created for our girl by milliner Lara Jensen who‘s been working with Gaga for over a decade!

Her angelic counterpart donned the Garden Fairy mesh corset top made from recycled vintage fabrics ($925) from Central Saint Martins graduate Gyouree Kim‘s Spring/Summer 2025 "Cherubim" collection.

If the "Manifesto of Mayhem" set the tone, then what followed was pure operatic excess. Gaga made her true entrance atop a towering crimson structure draped in velvet folds—her silhouette like a deity descending upon her disciples.

The look? A custom creation by avant-garde visionaries Samuel Lewis, Athena Lawton and William Ramseur—a pleated, studded spiked masterwork of red velvet drama. Drawing inspiration from Edwardian silhouettes and Mugler’s villainous couture—particularly his take on "Lady Macbeth"—the jacket was armored in silver pyramidal studs, its spine and shoulders flaring like a queen prepared for battle.

Beneath the sweeping opera curtain–inspired skirt—engineered by the theatrical masterminds at Jet Sets —hid an elaborate cage several feet tall, housing Gaga’s dancers like a twisted chorus of shadows. The garment was both fortress and stage, its hem draping downward like blood-soaked drapery from an abandoned palace.

Topped with bone-like protrusions with crystal embellishments at the collar and sleeves, Gaga became something between a saint and a specter. Her performance from this fortress-skirted throne was a visual aria: high camp meets high art, rooted in madness, resurrection, and pure spectacle.

The opera singers beside her were dressed in huge wavy constructed yellow and black skirts with beaded velvet tops, custom-made by Candice Cuoco.

In one swift motion, she shed the heavy opera curtain—only to unveil a sensual, custom-made Samuel Lewis and Seth Pratt creation beneath. The ruby-red satin dress featured a sharp bodice with architectural puff shoulders and a plunging open front that gave way to the black lining. A crystal-embellished sash draped diagonally across her chest.

For the most intimate and arresting act of her set, Gaga appeared in a teddy—part lingerie fantasy, part gothic confessional, custom-made by the same duo. Crafted in rich black satin, the piece featured a sculpted bustier, delicate lace trim, and a shimmering crystal-embellished cross that ran from neckline to hem, catching the light like a whispered scandal.

Gaga strutted across the stage in the surprisingly affordable Leza over-the-knee boots by Steve Madden—retailing for just $89.99. Yes, you read that right.

"OFF WITH HER HEAD!"

Three of the characters are wearing these impeccable black veiled headpieces and dresses which were created by Nasir Mazhar in 2021, originally for balletLORENT.

Gaga's string orchestra wore draped black taffeta gowns made by AGRO STUDIO with custom headpieces all created by Lara Jensen.

As the lights dimmed and the stage transformed into a sepia-toned wasteland, re-emerged not as a pop powerhouse, but as a ghostly relic of beauty undone. Lying among skeletal remains and grains of dust, she conjured a scene straight from a tragic gothic fable.

For this act, titled “And She Fell Into A Gothic Dream,” Gaga wore a custom Dilara Findikoglu corset mini dress—a distressed, doll-like creation that whispered of innocence lost and romance decomposed. The off-white, almost bone-colored garment featured delicately frayed edges, an asymmetric hem, and panels of antique lace that seemed stitched together by time itself. Every rip and raw edge told a story of longing, survival, and sorrow.

The dancers wore skeleton masks made specially by Sarah Sitkin!

Gaga stepped back into one of her most iconic songs—"Paparazzi"—but this time, she didn’t just revisit it. She rearmed it.

As the familiar opening notes rang through the desert sky, Gaga reappeared in a custom Manuel Albarran armor bolero and matching helmet—a direct visual homage to the Mugler look she wore in the original "Paparazzi" music video.

For the high-octane performance featuring Gesaffelstein, Gaga slipped into a custom Marni catsuit, based on the house’s Fall/Winter 2025 collection. The original red suit—featuring beaded embroidery of a black wolf—was reimagined for Gaga as a skin-tight, asymmetrical bodysuit, fused with nude illusion mesh and stitched with jet-black sequins that glinted like sharpened claws.

To elevate the glam rock look even further, Gaga threw on a custom coat made entirely of hand-cut blue and black paper feathers, inspired by the brand’s Spring/Summer 2025 collection.

A true blast from the past are her Savannah vinyl corset boots from Penthouse.

Her female background dances all wore custom costumes by Courtney McWilliams paired with the Miista Imogen black lace-up sneaker boots!

As the opening of "Zombieboy" echoed, Gaga returned to the stage, wearing a striking custom look designed by Samuel Lewis and William Ramseur: a military-inspired royal blue satin bustle coat, tailored to perfection and cut with razor-sharp precision. The garment featured exaggerated puffed shoulders, a nipped waist, and a flared skirt with an almost theatrical silhouette, marrying 18th-century regency with gothic fantasy. The pièce de résistance? The coat’s intricate gold embroidery, stitched by the artisans of Altesa Embroidery, which shimmered like bone filigree under the stage lights—mirroring a skeletal ribcage and spine that gave the look both regality and decay.

But Gaga didn’t stop there. To crown the ensemble, she donned a custom Marni paper feather helmet, styled like a twisted jester’s crown with raven-black plumage erupting from her temples.

The studded harness belt, she wore during "Zombieboy", was custom-made by Jonathan Burdine in collaboration with Iggy Soliven.

For "Shadow of a Man", Gaga emerged cloaked in mystery and command, donning a custom Louis Verdad x Samuel Lewis creation that was equal parts military regalia and avant-garde sculpture.

The charcoal grey structured jacket, tailored to her frame like armor, featured razor-sharp lines and a high, asymmetrical collar that framed her silhouette like a shadow in motion. Bold black patent leather straps slashed across her shoulders and waist, adding a sense of futuristic restraint to the otherwise regal tailoring.

Underneath, she wore black stretch vinyl shorts by Los Angeles Apparel.

For the final look of the night, Gaga delivered a breathtaking visual transformation in a total couture creation by Matières Fécales (formerly known as Fecal Matter), a brand famed for its futuristic, grotesque, and avant-garde sensibilities.

The custom ensemble was a full conceptual look, comprised of a satin-stitched bodysuit featuring a haunting red anatomical cross motif—meant to evoke the feeling of surgical stitches, resurrection, and rebirth (and a nod to the "Abracadabra" music video!). The bodysuit alone was a spectacle, but Gaga layered it with even more drama: a translucent organza coat (cropped specifically for her performance), and an exaggerated feathered bustle skirt constructed from delicate white plumes that moved with every beat, adding an ethereal weightlessness to the performance.

The silhouette was further intensified with a sculptural feather collar piece—a headpiece of long, otherworldly white feathers shooting upward like wings, perfectly framing her head and extending the theatrical effect, created by Paul Battenberg-Cartwright.

On her hands, Gaga wore elongated gauze gloves created by artist Yaz XL, designed to resemble haunting, claw-like monster hands. The exaggerated fingers extended dramatically into crystal-embellished tips, catching the stage lights with every movement and adding an eerie elegance to her already ethereal silhouette.

To complete the look, she grounded the ensemble with custom white lace-up ankle boots by Chrome Hearts.

Уже на месте выяснилось, что детей хочет только Влад, а шутка Фаины: "Кому надо, пусть и рожает", натолкнула Виктора на гениальное решение. Возможно, Влад не вполне понимал, на что согласился, но отступать было поздно. (Once there, it became clear that only Vlad wanted children, and Faina's joke, "Whoever wants to, let her have them," prompted Victor to come up with a brilliant solution. Perhaps Vlad didn't fully understand what he was agreeing to, but it was too late to back out)

Скромно отпраздновать начало эксперимента по оплодотворению представителя мужского пола Виктор пригласил подопытных в кафе, где либо еда была несвежей, либо у Влада появились первые признаки беременности. (To modestly celebrate the start of the male fertilization experiment, Victor invited the test subjects to a cafe, where either the food was stale or Vlad was showing the first signs of pregnancy)

Виктор был так воодушевлен, что не заметил, как за ним следит подозрительного вида гражданин. У Матрицы свои законы, которые никто не смеет нарушать. (Victor was so excited that he didn't notice a suspicious-looking man watching him. The Matrix has its own rules, which no one dares break)

Дома жена Виктора, Илона, мечтала, чтобы младший сын, Витя, получил стипендию, ведь он так хорошо играет на рояле. А в тот момент, когда Толя (сын Тимофея и Олеси), оставшийся в гостях у бабушки Тоси после празднования Нового года, хвастался своими любовными похождениями, он выяснил, что Тося считает внуков от Илоны более выдающимися, чем внуков от Тимофея. Обидно! (At home, Victor's wife, Ilona, ​​dreamed of their youngest son, Vitya, receiving a scholarship, since he played the piano so well. And at that moment, when Tolya (the son of Timofey and Olesya), who was staying with his grandmother, Tosya, after celebrating the New Year, was bragging about his love affairs, he found out that Tosya considered her grandchildren from Ilona to be more outstanding than her grandchildren from Timofey. It was offensive!)

Вот только если Витя еще получал хорошие оценки, то Вика учебу совсем запустила. Еще ей нравился Кирилл, но у него с ее кузиной Олей уже была любовь, а Вике оставалось только им завидовать. (But while Vitya was still getting good grades, Vika had completely neglected her studies. She also liked Kirill, but he was already in love with her cousin Olya, and Vika could only envy them)

Впрочем, у Вити тоже не складывались отношения с девочками - они ему не нравились, а когда он пытался перейти к активным действиям, например, броситься им на руки, те начинали возмущаться. (However, Vitya also had trouble with girls—he didn't like them, and when he tried to get involved, like throwing himself into their arms, they would become indignant)

Наблюдавший за этим Толя испытывал испанский стыд за кузена, поэтому попытался дать ему несколько советов, но Витя даже слушать его не стал, зато порадовал маму стипендиями за творчество и танцы. (Watching this, Tolya felt a deep sense of shame for his cousin and tried to offer him some advice, but Vitya wouldn't even listen. Instead, he delighted his mother with scholarships for his art and dancing)

Не везет с девчонками - не беда, можно пригласить на ночную прогулку парня, например, Александра. Он тоже одинокий одиночка. (No problem if you're unlucky with girls. You can invite a guy like Alexander for a night out. He's also a lonely loner)

Но Витя чуть было не проспал их тайную встречу. Хоть не попался взрослым. (But Vitya almost overslept their secret meeting. At least he didn't get caught by the adults)

На следующий день после школы Витя пригласил сестру погулять по зимнему парку, чтобы вместе страдать от одиночества, а то одному скучно. Но в парке гуляла их тетя Вероника с семьей. Пришлось забраться на игровой комплекс подальше от них. (The next day after school, Vitya invited his sister for a walk in the winter park, so they could share in the loneliness; it would be boring to be alone. But their Aunt Veronica and her family were in the park. They had to climb onto the playground, away from them)

Страдать в красивом заснеженном парке оказалось непросто. Вика то и дело отвлекалась на любование природой. (Suffering in a beautiful snowy park turned out to be difficult. Vika kept getting distracted by admiring the nature)

Но ничто не сравнится с муками бедного котика Барсика, которого Виктор решил обучить командам. Его даже Илона не могла спасти от целеустремленности хозяина. Помогите! (But nothing compares to the suffering of poor Barsik the cat, whom Victor had decided to teach commands. Even Ilona couldn't save him from her master's determination. Help!)