Lady Gaga launched her sold-out "Mayhem Ball" promotional tour in Las Vegas on July 16, in support of her latest album 'Mayhem'. The tour, which runs through January 2026, was styled by Hunter Clem, with assistance from Bree Banuelos, Katie Collet, Conrad Muscarella, and Thomas Varra.
For this tour, Gaga brought back several looks from her previous Coachella performance. As a result, our focus will be solely on the newly debuted stage outfits.
ACT I: "Of Velvet and Vice"
Gaga opened her "The Art of Personal Chaos" show with a new version of the "Manifesto of Mayhem" interlude.
Commanding attention with unapologetic grandeur, this red velvet bodysuit is the result of a bold collaboration between avant-garde designer Samuel Lewis and leather-and-luxury icon Candice Cuoco. Inspired by Elizabethan silhouettes yet rooted in theatrical futurism, the piece merges romance and power with unapologetic flair.
Crafted in rich crimson velvet, the design features exaggerated studded leg-of-mutton sleeves, meticulously structured for volume and drama. A sculptural pleated ruff collar encircles the neck in a nod to regal tradition, while silver-toned studs form precise vertical lines across the bodice and sleeves — echoing armor yet glimmering with couture precision.
Her opposite is dressed in the Dilara Findikoglu custom distressed corseted mini dress made of deadstock antique lace, we've seen her rock on stage before.
We've seen her wear this costume in red and green. A new black version was debuted during her Tokyo tour date! Unlike the previous ones, this one was made by BXanderV for her.
ACT II: "And She Fell Into a Gothic Dream"
A tour de force of theatrical glamour and sculptural precision, is this ivory bodysuit designed exclusively by Topo Studio NY. Fusing classical drapery with futuristic couture, the silhouette is a sensual celebration of movement, light, and female form.
Constructed from cascading layers of soft, ethereal chiffon, the piece features a hand-gathered corset bodice with a plunging sweetheart neckline and embellished crystal cups, sculpted to resemble a living, breathing statue. A twisted, serpentine halter strap coils around the neck like a ribbon of liquid fabric, while voluminous asymmetric drapes fall from the waist, creating an illusion of flowing motion with every step.
The female dancers are wearing custom costumes by Velarde Designs.
Gaga‘s heels for the show were provided by Stuart Weitzman. These are the Power 75 booties in ivory leather ($775) which were custom stoned with silver crystals by Disco Daddy!
For 'Paparazzi', our girl wore these Capezio Margot nude canvas ballet slippers ($32) which she also got customized with silver rhinestones by Disco Daddy.
A new Act II silhouette made its debut in Osaka.
LG stepped onstage in another bespoke pleated illuminated organza bodysuit by Topo Studio NY, reworking the look introduced earlier in the tour. This iteration brings more coverage through the upper body, shifting the balance from exposure to structure while preserving the lightness and movement of the original.
The custom pleated organza mask, which perfectly matched her new costume, was done by Lara Jensen, who‘s done incredible stage headwear for our girl and her dancers in the past.
Gaga sings "The Beast", while wearing the exact same cape as seen in her "Abracadabra" video, just with a little more tulle for the stage.
It’s the custom Samuel Lewis x Suman Gurung x ILONA cape which is based on the closing number from the Givenchy Fall/Winter 1998 “Endogenous, Russian, Amazonian” Haute Couture collection, which was designed by Alexander McQueen—a baroque-inspired extraavagant white lace jacket with oversized dramatic Elizabethan collar and tiered stiffened long train.
Gaga revealed to Elle that they created this cape by upcycling old wedding dresses with the help of GALEDI!
Act III: The Beautiful Nightmare That Knows Her Name
Gaga changes into a look every dark queen would eat their heart out for. This one included a custom AZIZ jacket!
This jacket is a theatrical statement piece that fuses Victorian drama with futuristic edge. Crafted from a high-sheen, crinkled black fabric, it features exaggerated puff sleeves that balloon out with regal volume, tapering sharply into fitted cuffs. The cropped silhouette is cinched at the waist with a wide silk ribbon that ties, adding a touch of dark romanticism. Most striking is the sculptural, villain-inspired standing collar that fans out like a dramatic hood, evoking the grandeur of operatic costume design.
Orchid Satellite and her team is behind her black leather rose-showered tulle hi-lo ball skirt, purple lace-trimmed crystal-embellished boned bodysuit with organza explosion in the back,...
...and the black crown with high heel-wearing doll legs and organza roses.
Here, she wore the Stuart Weitzman Power black suede knee boots ($850) which she got customized with jet crystals all over by Disco Daddy!
The dancers are all wearing custom looks by emerging label Indépendantes de Coeur.
When Gaga unveiled her new single 'The Dead Dance' as an official addition to the setlist since September 11th, she didn’t just give us music — she gave us a macabre fashion fantasy.
The look, custom-made by Miss Claire Sullivan, featured an exaggerated puff-sleeved jacket with sculptural volume through the arms and hips, cinched at the waist with a detachable skirt that erupted into cascades of white organza tulle. Down the bodice, three black silk bows served as punctuation marks, playful yet ominous against the pristine ivory base. It was both harlequin and haute couture, a silhouette that nodded to the theatre of 18th century costume while remaining resolutely avant-garde.
To crown the look, Gaga wore a CHRISHABANA antique decaying lace bonnet, adorned with delicate dried flowers — part relic, part romantic shroud. Together, the pieces created an image of a ghostly porcelain doll come to life.
For the London shows, Gaga unveiled a brand-new stage look — a custom creation by Orchid Satellite and Indépendantes de Coeur.
The ensemble features a faded argyle and scribble pattern across a structured jacket with dramatic puffed sleeves, finished with velvet lace-up details that slash across the bodice and arms. Layered over a detachable skirt in soft blush with tulle underlayers, the design fuses Victorian decadence with punk distortion — a perfectly theatrical match for the haunting performance.
There's also two headpieces in the game, both made by Orchid Satellite. The first one, worn on stage, is this very Victorian-esque saucer hat with bows and ostrich feathers.
Another audacious headpiece worn backstage. The design stacks three upside-down ballet slippers, their ribbons spiraling dramatically upwards, with the word 'MAYHEM' inscribed inside — a direct nod to her latest album.
The piece takes clear inspiration from a Stephen Jones creation for Dior’s Fall/Winter 2007 Haute Couture collection, reimagined here with Gaga’s signature blend of theatricality and rebellion.
Act IV: Every Chessboard Has Two Queens
When Gaga stepped onto the stage to perform 'Shadow of a Man', she brought a vision. That vision took form in a jaw-dropping custom Louis Verdad military-style tailcoat that fused theatrical glamour with regal defiance, instantly becoming one of the visual highlights of the tour.
The ring-leader jacket detailed with heavy silver embellishments features braided fringes cascading over exaggerated shoulders, rows of gleaming silver buttons down the front, and full-length sleeves layered with metallic cords, crystal cross appliqués, and hand-sewn tassels. The tailoring was razor-sharp, cinched at the waist and exploding outward in a dramatic double tailcoat that swayed behind her like the echo of a ghost — a fitting metaphor for the song’s spectral mood.
The real magic, however, was in the subtle storytelling embedded in the garment. From the MJ-coded armband to the bold, royal silhouette reminiscent of 'Dangerous'-era costumes, this jacket was more than stagewear — it was a coded love letter. Underneath, only a glimpse of black silk lining was visible from the front, letting the focus remain on the embellished jacket while teasing the full grandeur of the coat’s back, which fans glimpsed in motion.
Gaga took the jacket off to reveal a custom bodysuit by Zana Bayne.
The piece is made from paneled stretch leather in a shimmering distressed foil finish, hand cut appliqués in silver stretch leather, finished with silver braid trim and embellished with chain tassels done by Michael Schmidt Studios, dome studs, and sparkling crystal rivets. The design draws inspiration from classic hussar uniforms.
Gaga debuted a new variant of her intricate costume at Madison Square Garden on March 19th!
This version is rendered in lilac tones. Both the custom military tailcoat and bodysuit feature different embellishments than their predecessors, like dangling jet crystals instead of chain tassels.
She accessorized her stage look with the sleek Saint Laurent SL-662 black acetate rectangular sunglasses.
Sometimes, she went for another pair of Saint Laurent frames — the SL737 Mica Thin cat-eye sunglasses.
She also had her Steve Madden Leza boots customized with buckled straps by Lacey Dalimonte a while ago.
The dramatic black sheer chiffon couture cape with crystal-embellished hood and Victorian flower brooch is another piece which I strongly believe to be made by Topo Studio NY for the show's "Phantom of the Opera"-inspired segment!
Gaga sang "Shallow" on the second night of her tour in Vegas while holding a custom CHRISHABANA mask.
The mask was constructed from Worbla, plastic, preciosa crystals, and finished with gold leaf detailing. A custom lorgnette was made from a repurposed vintage letter opener to complete the look.
Finale: Eternal Aria of the Monster Heart
In Stockholm, Gaga debuted a new variation of her bespoke Matières Fécales 'Bad Romance' look! The newest addition this time is a pleated, draped and layered white tulle padded bodysuit with distressed effect and high collar.
In Melbourne, Gaga erupted onto the stage in a spectacular new custom creation by Matières Fécales, a look that pushes the language of costume into something primal, operatic, and almost mythological.
The garment itself is a living sculpture—its corseted body carved in sharp anatomical lines, its wounds slashed open and filled with glistening crimson crystals that catch the light like fresh embers. Billowing cape-slit sleeves move with a predatory elegance, transforming every gesture into a flourish of tattered wings, while the high, serrated collar rises like a ceremonial crest, framing Gaga in a silhouette that is at once regal and ferocious.
The look is crowned with a custom Paul Battenberg-Cartwright explosive feather headpiece—white plumage pierced by blood-red spikes, radiating upward like a phoenix mid-rebirth.
On her feet, knee-high boots complete the transformation, echoing the garment’s palette and adding a brutal, theatrical weight to each step.
Together, the pieces form a vision of Gaga as a fractured celestial creature—wounded, radiant, and reborn in crimson fire.
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.
Madonna by Steven Klein | Agent Provocateur corset • Atsuko Kudo gloves • New York Vintage stole • Michael Schmidt Studios crystal bodychain • Wolford fishnet tights | V Magazine “Madonna Forever” November 2021
In "Joker: Folie à Deux", director Todd Phillips brings a new, musical twist to Gotham's most notorious characters, with Lady Gaga taking on the role of Harley Quinn.
The film’s visual storytelling is further elevated by renowned costume designer Arianne Phillips, whose intricate designs blend classic Hollywood glamour with dark, psychological undertones. Hair by Frederic Aspiras and makeup by Sarah Tanno-Stewart.
Harley is introduced in custom marigold and blue mohair cardigans, crafted by the movie’s costume team, and subtly woven with diamond patterns. These diamonds, a nod to her harlequin origins, quietly foreshadow her dark journey. Phillips’ design choices blend symbolic elements with a grounded, human realism, allowing the audience to connect with Harley before her madness fully surfaces.
Phillips, whose contributions are essential to bringing this new vision of Harley to life, draws upon the delicate balance between whimsy and tragedy. Her mastery is evident in every layer of Gaga’s costumes, capturing the tension between Harley’s identity as Quinzel and her gradual shift into Joker’s lover and accomplice. This collaboration continues Phillips’ tradition of injecting meaning into every piece, creating a visual narrative that complements the film’s psychological depth.
Lee’s cozy sweaters set a backstory for the character, according to Phillips: "The idea is that maybe she found it in a thrift store or it belonged to her father".
Her scruffy vintage Capezio ballet slippers (a reference to Amy Winehouse — who sported a visibly worn-in pair on more than one occasion — and director Todd’s idea) also convey vulnerability. And an origin story.
"There’s a little infantilizing of her in the beginning", says Phillips. "She has this bravado — a fearlessness that you really experience in a young person — and then you see her as her determination grows over time."
A particularly striking piece is the white silk bias-cut gown Harley wears during the rooftop dance sequence. Created in collaboration with Gaga’s sister, Natali, under her label Topo Studio NY, the dress features criss-cross embellished straps.
Phillips designed the look to evoke the elegance of classic silver-screen icons, blending Harley’s dreamlike fantasy with a cinematic nod to vintage Hollywood.
"Totally Ginger Rogers and Fred Astaire", says Phillips, "and [the dress inspiration] was in the script, so I leaned into that".
Harley also wears a pair of vintage 1938 Bvlgari platinum and diamond ear clips, now part of the Bvlgari Heritage Collection in Rome.
She completed the look with a silver version of these Bloch Chord T-strap dance heels.
"The early ‘80s was the time when the East Village scene and CBGB on the Bowery were starting up", says Arianne about the inspiration for Lee’s supposedly thrifted, ‘70s "babydoll, Biba-esque dresses" worn with discordant oversize cardigans and chunky punk rock outerwear. "She has a fake fur jacket and a thrift store men’s sweater. She would have cobbled these looks together, but, still, there’s a vulnerability and bizarre innocence — she’s this sycophant who’s obsessed with Joker. That mix, to me, shows that".
For her casual attire, Lee wore this vintage 1960s faux fur double-breasted peacoat in teal and black, along with vintage floral dresses underneath!
Her necklace in the shape of a diamond, custom-made by Michael Schmidt Studios, shows the Hermetic Seal of Light: "This symbol, often referred to as the synthesis of alchemy or the Hermetic Seal, hearkens back to ancient Pythagorean philosophy, wherein the square, circle, and the triangle are the emblems of the material body, the soul, and the spirit, the three elements believed to be necessary for alchemical transformation."
Harley‘s 70s-style brown patchwork leather chevron hobo bag, now lovingly named the "Harley", is a one-of-a-kind piece made by Kilner Goods who uses upcycled materials for her designs.
"I sort of saw it and I didn’t know if it was some sort of a joke or a scam or something. I sort of forwarded it to my friends and family and said ‘Wow, this is cool if it is real'" Nicole Loewen states.
Arika Nerguiz is actually a primarily dance shoe designer, and the Gaia is a dedicated tango shoe. But Lee makes use of it here as an adorable day shoe while out and about in Gotham City.
For the Joker & Harley Show bit, Lee dons a striking marigold two-piece set with a smattering of delicate Swarovski crystal and bugle bead strings assembled by Western Costume Co. that references Bob Mackie’s work for Cher.
This one’s designed by Arianne who had it custom-made by her costume team. She also wore custom rainbow-striped platform heels.
Out of Arkham, Lee gradually shows her support of (or fixation on?) Arthur and his Joker persona by moving up the gallery to sit front row at his trial.
For the courtroom fantasy segment, Lee wears a custom sheer crimson tunic dress with burnout black velvet triangles all over, made by the costume team.
Back in the courthouse, Lee (Harley) Quinzel wears a vintage Biba-esque navy, flower-print "church"-type dress with an exaggerated Peter Pan collar in contrasting white.
The white diamond-patterned 20/60 dernier tights are the Losanges tights by Emilio Cavallini, who renamed them into the Harlequin tights ($38) after seeing Gaga in them!
Lee walks down the aisle toward Joker in a custom white bridal V-neck mini dress with a delicate diamond trapunto pattern and gleaming ribbons streaming down the shoulders — "playing into what Arthur would be attracted to," says Arianne. "In her fantasy, and his fantasy, what would that look like?"
Phillips referenced ‘60s icons like Jacqueline Kennedy Onassis for the block-heel Mary Janes, plus Doctor Zhivago-era Julie Christie and the late ‘60s/‘70s silhouettes of Ossie Clark and Biba. "The dress is pretty inspired by my aunt, who got married in the ‘70s," she adds. "I was a flower girl".
The adorable white patent leather Mary Jane pumps with double buckled straps are the Alice by Carel ($510).
The nuptials transition into a raucous jazz performance at the ill-fated (and ominously named) Pogo’s comedy club. Lee smashes the keys on a baby grand as she belts out a banger, wearing a silver metal mesh dress that sways with her bombastic movements, bringing to mind...well, Lady Gaga.
Arianne collaborated with Michael Schmidt Studios on the sparkly stage-wear. "I made a diamond-shaped collar that just gave a certain energy to that scene" she says.
You‘ll find the diamond shape somehow always in everything Harley wears. Here, it appears in her custom Michael Schmidt Studios drop earrings!
Arianne whispered to me that Lee also donned a pair of Gianvito Rossi heels in this scene. Even though her feet are mainly hidden by the piano she plays on, I believe that it‘s the Crystelle sandals that sparkle vividly in the shadows.
We can see Lee getting ready for Arthur‘s final trial, wearing the Kit Undergarments organic cotton triangle soft bra in "Darling" floral print!
Lee strides into court in full Harley Quinn regalia: a red silk blazer with raised diamond patterns and pleated ruffle cuffs, a theatrical corset and graphic tights.
"Along with embracing her determination, she has taken on this persona inspired by Joker," says Arianne. She imagines that Lee thrifted the red jacket from an old circus uniform, ripped the muslin and ruffle-trimmed corset off a period costume gown, and maybe copped the leather mini from the Gotham outpost of Trash and Vaudeville. "You see the diamond pattern throughout," she adds.
The costume was created using fabrics from International Silks & Woolens which were then custom tucked and pleated by Twins Pleating & Smocking.
Previously worn in white, Lee also chose the Harlequin black 20/60 dernier tights ($38) by Emilio Cavallini!
Lee completed her dramatic ensemble with a vintage leather bag and these Charles Jourdan Cecil patent leather ankle boots with decorative elastic bands!
Last but not least, we see Harley Quinn one more time, dressed in her custom black and white ruffle-trimmed corset and custom black chevron jacquard peacoat with red silk lining.
"My idea was that the black and white corset was something that she ripped out of perhaps a proper costume, like an 18th-century dress. We made it out of muslin which is never what you use on the outside of a costume because the texture is unfinished and ragged on the edge." says Arianne.
The look was completed with the Converse All Star low-topcanvas lace-up sneakers in black mono.
Lady Gaga was photographed for the “Plague Of An Ancient City” series by the iconic David LaChapelle for the cover of the Rolling Stone June 2009 issue.
Styled by Bea Akerlund, Gaga whipped out dramatic looks one by one for this shoot. Makeup by Sharon Gault using M·A·C Cosmetics, hair by Clyde Haygood and manicure by Naja Rickette using Minx.
In the first set of photos, the Italian-American entertainer wears a custom-made Michael Schmidt Studios clear acrylic bubble bodysuit paired with a vintage clear bustier by Mugler.
She sported these vintage Optical Affairs 6556 clear acetate sunglasses which she, together with her vintage French lucite cuffs, sourced at Fairfax-based vintage boutique Catwalk.
Her silver knuckle ring is by House of Waris.
She completed this look with a pair of Ruthie Davis’ Spring/Summer 2009 Pop white and neon-yellow PVC strap platform sandals with lucite stiletto heels.
Gaga wore a sculptural pink plexiglass & metal bolero and matching basque skirt from Mugler Fall/Winter 1995 Haute Couture collection.
The futuristic ensemble was also featured in the Thierry Mugler archive story, Luigi Murenu and Daniele & Iango captured for the latest issue of Exhibition Magazine, in the last year “Temptress” editorial by Darius Salimi x Lash Magazine, Richard Burbridge’s 2012 “Futuristic” photo shoot, and Mark Pillai x Dazed 2009 “Woman Machine” editorial, among others… and if you live or been to Paris last Spring, you may have seen it at Mugler Pop Up Store at the Joyce Gallery.
Michael Schmidt Studios custom-made Gaga’s wheelchair and embellished it with Swarovski crystals.
The look was styled with a nOir Jewelry pavé silver spike bangle...
...and the Ruthie Davis Spring/Summer 2009 Sushi Deluxe PVC and lucite neon platform peep-toe pumps.
Here the songstress poses in a Metropolis-inspired set dresses as an injured robot in an archive Mugler Spring/Summer 1991 prêt-à-porter silver metal helmet, bra, briefs and sleeves.
Her Swarovski crystal-embellished spiked clutches are custom-made by Michael Schmidt Studios.
Gaga also wore a pair of black patent leather Alti platform pumps from Christian Louboutin’s Fall/Winter 2018 collection.
In some of the outtakes, Gaga is seen posing with a baby, and a different pair of shoes. These sculpturesque heels are made of actual gold metal and are, just like her outfit, vintage Mugler!
The Italian-American beauty looks electrifying (hah, get it?) in not much but a pair of the Acne Studios Judd Low silver metallic platform wedge ankle boots from the Fall/Winter 2009 collection.
In these outtakes, we can see the Italian-American singer wearing a bespoke Haus of Gaga newspaper print catsuit with sharp, exaggerated shoulders accompanied with...
...a textured umbrella headpiece Philip Treacy made for Alexander McQueen’s Fall/Winter 2009 “Horn of Plenty” collection.
Finally, she completed the look with a black leather version of the aforementioned Acne Studios Judd Low boots.
Last but not least, Gaga poses is nothing but newspaper clippings and these Christian Louboutin Supra Fifre over-the-knee black leather boots with military-inspired silver buttons. You might recall the silver version of these which she later wore in the “Telephone” music video!
JOANNE WORLD TOUR CHAPTER #8: LADY GAGA IN MICHAEL SCHMIDT STUDIOS & JUICY COUTURE
Lady Gaga took the stage later and performed her #1 hit ballad ‘Million Reasons’ on her piano wearing some very intricate sparkling pieces which left many tongues wagging.
The floor sweeping long duster coat with buttoned front, fitted waist and stand-up collar has been custom created for Gaga by Michael Schmidt Studios. This coat is covered in over 250.000 Swarovski crystals.
Click here to watch a video of how the coat looked during the progress.
She also rocks the trademark of the “Joanne” era - her pink felt Lady Bianca hat by Gladys Tamez Millinery.
Later on, she revealed a new outfit underneath her coat.
This Swarovski crystal-embellished V-neck halter jumpuit is from Juicy Couture’s Spring/Summer 2018 collection.
