But for Weekend 2, Anhedönia wanted to embrace the other side of Ethel Cain. “I’ve always tried to inhabit two characters on stage and in life, at least for this particular chapter: One is the haunted woman in the house on the hill, skulking around in her drapes, scaring the local children. One is the tomboy who runs with the boys and is hard-pressed to keep her shoes on,” she explains. “Marrying that vision to a house like Dior is how you get couture overalls.”
Anderson, for his part, adds: “For Coachella, we approached it as an exchange: a dialogue between her codes, her narrative, and those of the house, creating something slightly rawer—almost a Dior take on grunge—in harmony with the music while allowing her voice to take center stage.”
Adali Schell
Enoch Chuang
The second weekend’s look, however, is a far cry from the couture overalls. Dior fashioned Anhedönia a black mock-neck gown with a gathered waist and flowing sleeves affixed with organza petals. “The dress feels like it fits right into the original quintessential Ethel Cain funereal garb, less narrative and more abject conceptual,” she says. Anhedönia added a black cyclamen headpiece, her version of the colorful posies that dotted Anderson’s debut couture collection.
“I will say, my favorite detail is the black silk cyclamen blossoms on the headpiece,” she says. “I was so tickled at seeing a black version made especially to go with my dress. I already loved the dress from the sketch alone, but the blossoms were what truly sealed the deal for me.”
Adali Schell
Adali Schell
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