#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.

Тося, забыв о всех предосторожностях, пробегая мимо охраны, стремилась поскорее испить живительный нектар. Уж не появилась ли у нее зависимость от сока? (Tosya, forgetting all precautions, ran past security, eager to drink the life-giving nectar. Had she developed an addiction to the juice?)

Чтобы руководитель лаборатории ни о чем не догадался, Виктор покормил растения и запустил экспериментальную установку. (To ensure the lab director didn't suspect anything, Victor fed the plants and started the experimental setup)

А Тося, оставшись без присмотра, пошла знакомиться с руководителем Виктора. Она ведь теперь относительно молода и привлекательна. Так почему бы ей не завести роман? Виктор еле сумел вернуть ее домой, но желание сходить на свидание у Тоси не пропало. (Left unattended, Tosya went to meet Victor's supervisor. After all, she was relatively young and attractive now. So why shouldn't she have an affair? Victor barely managed to get her home, but Tosya's desire to go on a date didn't wane)

В это время старший сын Илоны и Виктора страдал без любви, ведь Рая (дочь Ады и Рея) предпочла другого. Чтобы найти себе девушку, Иван отправился к эстрадной площадке, заодно прихватив с собой младших сиблингов - Вику и Витю. (Meanwhile, Ilona and Victor's eldest son was suffering without love, as Raya (Ada and Ray's daughter) had chosen another man. To find a girlfriend, Ivan went to the stage, taking his younger siblings, Vika and Vitya, with him)

Вот только Вика хоть и нравилась мальчикам, но те были ее кузенами. А Витя оказался очень придирчив. Ну не нравились ему красивые блондинки. (But while the boys liked Vika, they were her cousins. And Vitya turned out to be very picky. He wasn't into pretty blondes)

Зато с Иваном начала флиртовать ярко накрашенная незнакомка, а его привлекали такие активные девушки, как его мама. Вечером начались танцы, поэтому вернулись ребята домой поздно и, не сделав уроки, легли спать. (But a brightly made-up stranger started flirting with Ivan, and he was attracted to active girls like his mother. That evening, dancing began, so the children returned home late and went to bed without doing their homework)

Родители заподозрили, что успеваемость детей падает, но поймать утром удалось только Вику, чтобы проверить, имеет ли она доступ к стипендии за хорошую успеваемость. Опасения родителей оправдались, но девочка обещала исправить оценки, и надев теплые шорты, всё же зима близко, она с братьями отправилась на учебу. (The parents suspected their children's grades were slipping, but they only managed to catch Vika morning to check if she had access to a scholarship for good academic performance. Their parents' fears were justified, but the girl promised to improve her grades, and putting on warm shorts—winter was coming, after all—she and her brothers headed off to school)

Шорты ей помогли: Вике дали главную роль в школьном спектакле и вознаграждение в 215 симолеонов. Естественно, уроки ей делать было некогда. Зато Витя улучшил успеваемость, чтобы не быть отчитанным мамой. (The shorts helped her: Vika was given the lead role in the school play and a reward of 215 simoleons. Naturally, she had no time to do her homework. But Vitya improved his grades to avoid being scolded by his mother)

Илону даже кот слушался. Попробуй, поспорь с генералом. (Even the cat obeyed Ilona. Try arguing with the general)

Зато при Викторе Барсик мог вести себя плохо, ведь то его всё равно любил и баловал. (But Barsik could misbehave under Viktor, who still loved and spoiled him)

Иван скоро должен был закончить школу и пытался насладиться последним годом детства, поэтому, когда Вика, нечаянно сломав кран, предложила куда-нибудь уйти из дома, пока мама не обнаружила поломку, Иван с радостью согласился. (Ivan was about to graduate and was trying to enjoy his last year of childhood, so when Vika, after accidentally breaking a faucet, suggested they get out of the house somewhere before their mother discovered the problem, Ivan happily agreed)

Вечером еще работали аттракционы, и ребята решили покататься на американских горках и машинках. (The amusement park was still open that evening, and the kids decided to ride the roller coasters and go-carts)

Вика в заприметила Кирилла (сына Давида и Карины), который у гадального автомата пытался узнать свое будущее. Сын мэра Вике приглянулся, но Кирилл не проявил к ней интереса. Шорты в этом случае не помогли. (Vika noticed Kirill (David and Karina's son), who was trying to tell his future at a fortune-telling machine. Vika took a liking to the mayor's son, but Kirill showed no interest in her. Shorts didn't help in this case)

Иван получил у гадального автомата неутешительное предсказание на счет своих романтических отношений, съел мороженое и, вернувшись домой, смирился с неизбежным поступлением в университет. Может, там он найдет любовь всей своей жизни? (Ivan received a disappointing prediction about his romantic relationships from the fortune-telling machine, ate ice cream, and, returning home, resigned himself to the inevitable admission to university. Perhaps he'd find the love of his life there?)