However, for the second weekend, Anhedönia aimed to embrace the contrasting side of Ethel Cain. “I’ve consistently tried to portray two personas both on and off stage, at least for this specific phase: one is the haunted lady in the mansion on the hill, sneaking around in her robes, frightening the local kids. The other is the tomboy who runs with the guys and has a hard time keeping her shoes on,” she elaborates. “Combining that vision with a brand like Dior is how you end up with couture jumpsuits.”
Anderson, in his capacity, adds: “For Coachella, we viewed it as a transaction: a conversation between her style, her story, and those of the brand, creating something slightly more raw—almost a Dior version of grunge—while staying in harmony with the music, all while letting her voice take center stage.”
Adali Schell
Enoch Chuang
The second weekend’s outfit, nevertheless, is a stark contrast from the couture jumpsuits. Dior designed a black mock-neck gown for Anhedönia, featuring a ruched waist and cascading sleeves adorned with organza petals. “The dress feels as if it perfectly fits into the original classic Ethel Cain funeral attire, less story-driven and more abject conceptual,” she states. Anhedönia complemented the look with a black cyclamen headpiece, her take on the colorful blooms that decorated Anderson’s inaugural couture collection.
“I must say, my favorite detail is the black silk cyclamen flowers on the headpiece,” she remarks. “I was absolutely delighted to see a black version created specifically to match my dress. I had already adored the dress from the sketch itself, but the flowers were what truly sealed the deal for me.”
Adali Schell
Adali Schell
