#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.

У Виктора и Илоны совпали выходные дни. Что может быть лучше, чем провести этот день в бассейне? Там супруги встретили первую любовь Илоны - Давида, который пришел со своей сестренкой Адой. Илона решила покрасоваться перед мужчинами, красиво прыгнув с трамплина в воду, но у более молодой Ады прыжок получился выше и изящней, а Давид на Илону даже не смотрел. (Victor and Ilona had the same weekend. What could be better than spending the day at the pool? There, the couple met Ilona's first love, David, who came with his little sister, Ada. Ilona decided to show off for the men by diving gracefully from the diving board, but the younger Ada's dive was higher and more graceful, and David didn't even look at Ilona)

Иван всё не мог забыть прекрасную Раю (дочь Ады и Рэя), даже тренировка в спортзале, после которой он вышел со школы на полусогнутых ногах, не помогла отвлечься, его оценки постепенно ухудшались. (Ivan couldn't forget the beautiful Raya (Ada and Ray's daughter). Even a workout at the gym, after which he left school with his legs bent, didn't help him distract himself; his grades were gradually declining)

Зачем страдать, когда можно действовать? Отпросившись у родителей погулять, Иван пригласил Раю на прогулку. Отказываться девочка не стала, даже заехала за ним на лимузине. Только откуда у нее в 14 лет права? (Why suffer when you can act? Having asked his parents for permission to go for a walk, Ivan invited Raya along. The girl didn't refuse, even picking him up in a limousine. But how could she have a driver's license at 14?)

Виктор вдохновился поступком сына и пригласил жену на свидание. Вот только образ Давида не выходил у Илоны из головы, она желала с ним любви. Да и какая страсть может быть дома с мужем, когда в каждой комнате спят дети? (Victor was inspired by his son's actions and asked his wife out on a date. But Ilona couldn't get David's image out of her head; she wanted to love him. And what passion could there be at home with a husband when children were sleeping in every room?)

Илона решительно потащила мужа в лифт, чтобы предаться разврату, но им помешала не спящая в полночь соседка. Разврату супруги всё же предались, а после напакостили соседке: Виктор начал обучать дочь играть на новом пианино в первом часу ночи. (Ilona resolutely dragged her husband into the elevator to indulge in debauchery, but their neighbor, awake at midnight, interrupted them. The couple indulged in debauchery, and then caused trouble for their neighbor: Victor began teaching his daughter to play the new piano at 1:00 a.m.)

Однако разбудили они не только соседку, но и всех своих детей. Витя вспомнил про домашние задания, которые нужно сделать, чтобы получить заветную пятерку. Виктор вспомнил, про старшего сына, которому скоро поступать в университет. Ночь - не помеха для получения знаний, они только лучше усваиваются. (However, they woke up not only the neighbor but all their children. Vitya remembered the homework he needed to do to get the coveted A. Victor remembered his eldest son, who would soon be entering university. Night is no obstacle to acquiring knowledge; it's only absorbed better)

Наступил День рождения Илоны и близнецов, и вопрос Вити о ее скором конце Илона восприняла близко к сердцу. Супруги даже сделали памятный снимок, пока они еще молодые. (Ilona and the twins' birthday arrived, and Vitya's question about her impending death was deeply felt by Ilona. The couple even took a commemorative photo while they were still young)

Торты были куплены только детям, ведь для них это был праздник. (Cakes were bought only for children, because for them it was a holiday)

Первой выросла Вика со стремлением к популярности, любовью к парням с крашеными волосами и в нижнем белье, но не толстым. Илона в это время тихо состарилась. Виктор тоже хотел популярности, но его избранница должна быть хорошо пахнущей чистюлей с естественной красотой. (Vika was the first to grow up with a desire for popularity, a love for guys with dyed hair and in underwear, but not fat ones. Meanwhile, Ilona quietly aged. Viktor also wanted popularity, but his chosen one had to be a clean, fresh-smelling woman with natural beauty)

На День рождения был приглашен Тимофей - близнеца Илоны, с которым пришел его старший сын Толя. Дети Илоны считали его очень крутым, поэтому постоянно старались завладеть его вниманием. А Иван вдохновился на поступление в университет, ведь Толя рассказывал, как там круто. (Timofey, Ilona's twin, was invited to the birthday party, along with his eldest son, Tolya. Ilona's children thought he was very cool, so they constantly tried to capture his attention. And Ivan was inspired to apply to university, because Tolya talked about how cool it was)

Пока семья веселилась, Тося пошла в бар через дорогу, чтобы утопить горечь в алкоголе. Ее дети старятся, она уже дряхлая старуха, а ей так хочется любви и свиданий. На свою беду в бар забрели Ксан Ксаныч с Калистой, и Тося на пьяную голову решила пофлиртовать именно с Ксан Ксанычем, хотя там были и другие старички. Калиста не стала сдерживаться в стремлении отбить у Тоси охоту смотреть на чужих мужей. (While the family was having fun, Tosya went to the bar across the street to drown her sorrows in alcohol. Her children were getting old, she was already a decrepit old woman, and she longed for love and dates. Unfortunately for her, Ksan Ksanich and Kalista wandered into the bar, and Tosya, in her drunken stupor, decided to flirt with Ksan Ksanich, even though there were other old men there. Kalista didn't hold back in her efforts to discourage Tosya from looking at other people's husbands)

Когда гости разошлись, Вика принялась рисовать портрет семьи, а вернувшаяся домой Тося с тоской смотрела на отпускные фотографии, где они с мужем были молоды, а дети - еще подростками. Как же быстро летит время. (After the guests left, Vika began sketching a family portrait, and Tosya, returning home, gazed longingly at vacation photos of her and her husband when they were young, and the children were still teenagers. How quickly time flies)