Round 4 - 2024 (The Garden of Time / Sleeping Beauties: Reawakening Fashion) - Match 2 of 12
Tyla (Balmain), left
“Latching onto “time” as the operative word from the night’s “The Garden of Time” dress code, the Balmain team fashioned Tyla a dress made of sand – a nod to the sands of time. Olivier Rousteing, creative director of Balmain, was particularly intrigued by the idea of ephemerality for Tyla’s dress. “The inspiration behind this creation stemmed from a desire to redefine boundaries and transform a transient material into an everlasting masterpiece,” he tells Vogue. “The idea of sculpting a garment from something as ephemeral as sand ignited my imagination and I could not be happier with the end result.”” (x)
vs. J. Harrison Ghee (Howie B.), right
“Ghee wore a dramatic feathered look by designer Howie B inspired, they said, by a caddis worm — perfectly in sync with the nature theme of the evening.” (x)
The songstress, who was styled by Marta del Rio, opened the show in a corset-style bodysuit with sweetheart neckline, crystal-embellished boning and long chiffon drapes that cascade from the shoulders down the back custom-made by Michael Ngo.
She paired it with the Dolls Kill “Obsidian” knee-high combat boots, which feature distinctive design details —including small zippered pockets on the sides, a lace-up front, buckles at the ankles and inside zipper closures.
Kesha moved across the stage carrying a hyper-realistic head of her former self from the "Animal" era, created by Kelton Ching with the help of Vaida Mikelenaite and Ana Victoria Esquivel. This striking visual was inspired by ancient Greek depictions of the goddess Athena holding the severed head of Medusa, a trophy presented to her by Perseus.
For her sold out show at KIA Forum, Kesha carried a silicone likeness head crafted by prosthetic and special makeup artist Chelsea Delfino in collaboration with Charlie Hernandez, Manny Lemus, Anneliese, Fourth Seal Studios and Motion Picture F/X Company.
On January 24th, 2026, during her show at Allianz Parque in São Paulo, she wore a For The Stars Fashion House sculptural silver headpiece adorned with crystal-encrusted snakes, inspired by the Medusa myth, paired with a cobra neckpiece that coils elegantly around the neck and torso.
In Brisbane, Kesha debuted a bespoke Garo Sparo ensemble inspired by Athena. Channeling the strength and wisdom of the deity, the singer donned a warrior corset and panties, a dramatic tear-away skirt and white sheer gloves.
The look was completed with custom Keren Wolf ornate gold headpieces, gilded designs that framed her face like sacred armor.
For Act II, titled “Heaven in Hell”, Kesha changed into a bespoke RAMSLAM white bodysuit with striped bust cups, criss-cross bands and leg straps. She completed the look with a pair of black fur boot covers and matching oversized hat, also custom-made for her by the LA-based fashion designer.
The singer then took the stage to deliver a powerful and emotional performance of “Fine Line” in a custom Ashton Michael white bondage-inspired straitjacket. The statement piece featured a dramatic high stand-up collar, an array of adjustable straps, oversized buckle elements and industrial metal hardware, all of which reinforced the raw vulnerability and intensity of the moment.
The Laurel DeWitt silver crown worn during the performance of "Eat The Acid" is a statement piece that features an intricately sculpted base encrusted with shimmering crystals. Rising from the crown are spike-like extensions arranged in a radiant formation, evoking the image of a celestial halo.
For Act IV, named "Freedom C*nt", Kesha donned a custom Howie B bodysuit adorned with two hands, which were rhinestone-embellished by Derrick Alexander —a symbolic detail that shimmered with every movement. The piece was paired with a structured blush-pink satin corset by the same designer.
She accessorized the look with the "PR B55S" silver mirrored sunglasses by Italian luxury fashion house Prada. These shades feature a slim metal bar that extends elegantly to the temples, merging sharp geometry with sleek minimalism.
Last but not least, for the final act of her concert in Dallas she donned a crystal-embellished version of the ". Pasties" white T-shirt from her own merchandise collection.
On August 9th, the artist wore a pink satin and leather harness belt by the same designer, which was embellished with Swarovski crystals, paired with custom panties and combat boots.
For her final look at CarnaUOL, Kesha changed into a BEPOP bright yellow T-shirt with green collar and sleeve trim, inspired by classic Brazilian football jerseys, featuring bold lettering with a Brazil flag graphic on the front.
She paired the look with the Dolls Kill "Obsidian" knee-high rhinestone-embellished combat boots in pink, which feature small zippered pockets on the sides and lace-up front.
In Paris, Kesha was gifted a cape designed by Anthony Al Khalil and Amir Al Kasm. The garment, custom-made for her, featured intricate hand-embroidered motifs symbolizing transcendence and freedom, including a cathedral, a radiant sun, an all-seeing eye, a spaceship and a whale —each element evoking a sense of spiritual journey and cosmic imagination.
During the Australian leg of the tour, Kesha closed the shows in a bespoke Michael Schmidt Studios bodysuit covered in reflective silver mirror tiles and crystals arranged in vertical mosaic patterns, featuring an asymmetrical one-shoulder design.
This 1994 album that doesn’t seem to get talked about despite the presence of Howie B and Major Force’s involvement. It’s one of those downtempo alternative albums that is part ambient, experimental and electronic. Kind of trippy and out-there but worth exploring.
