Amongst Björk’s fervent fans, we spotted Alexander McQueen’s creative director Seán McGirr, Loewe co-designer Jack McCollough (in town for his birthday), jeweler Marco Panconesi, and journalist Ronan Farrow taking in this sensory overload of the highest order: fashion, music, art and technology all competing for attention beneath a rapidly disappearing sun.
While the solar phenomenon may have been a once-in-a-lifetime occurrence, Björk has been consistently turning out phenomenal looks for four decades now, notes Pari Stave, curator of the Björk exhibition currently occupying the National Gallery of Iceland until September. “Transforming the body is part of her creative exploration through worldbuilding,” she told Vogue ahead of the rave.
Photo: Santiago Felipe
On Wednesday, that worldbuilding was (quite literally) bigger than ever. Björk performed in a customized version of Robert Wun’s amorphous balloon couture creation, adapted from the Hong Kong-born, London-based designer’s fall 2026 collection, and shown in Paris just weeks earlier. Wun says Björk and her team zeroed in on the look immediately. “They weren’t even considering anything else,” he recalls. “It was just: It’s going to have to be this one.”
Another quality made the outfit unusually appropriate for an eclipse: its impermanence. “The beautiful aspect of it is that it’s not meant to last,” Wun says. And in a country where the tempestuous weather has little interest in accommodating fashion, perfection was never the objective. Björk’s camp, Wun recalls, embraced the possibility that balloons might burst mid-set: “Even if some of them pop, it’s part of the performance.”
