ROSALÍA - LUX

Rosalía’s Lux Era Is Divine Fashion Ascension

Rosalía’s fourth studio album is as commanding as it is demanding. A leap several universes away from her 2022 LP Motomami and its glitchy hip-hop, reggaeton, and flamenco rhythm inflected-sass, on Lux, she sings in 13 languages and is often accompanied by the London Symphony Orchestra. It is a challenge to music tastes dictated by an algorithm, homogenizing tastes, and pop slop. You must submit to her beatification via transcendent beats, where pop and religion intertwine and articulate something even more heavenly.

Rosalía’s fourth studio album is as commanding as it is demanding. A leap several universes away from her 2022 LP Motomami and its glitchy hip-hop, reggaeton, and flamenco rhythm inflected-sass, on Lux, she sings in 13 languages and is often accompanied by the London Symphony Orchestra. It is a challenge to music tastes dictated by an algorithm, homogenizing tastes, and pop slop. You must submit to her beatification via transcendent beats, where pop and religion intertwine and articulate something even more heavenly.

This week, Rosalía wore a sinewy, sheer Dilara Findikoglu fall 2024 gown while performing at the LOS 40 Music Awards in Valencia, Spain. The dress featured cream tulle panelling with a black overskirt—the angelic and the underworld aesthetics intertwining. “I wanted to express divine feminine power somewhere beyond time, beyond reality, and beyond what is happening,” Findikoglu told Vogue of the collection at the time. The Dilaraverse and Rosalía’s visions for Lux orbit each other. On the red carpet, she looked the part of a fall angel in custom Balenciaga spring 2026, with a feathered black cape and otherworldly creature crystal and black sunglasses. Another promo shot outfits her, in a state of intense prayer, in Jean Paul Gaultier spring 2004 corset gloves—a twisted, ascetic image.

The video for goth-pop, avant-orchestral “Berghain” revels in archival, off-the-runway pulls, styled by Jose Carayol. There’s a clinging black dress and jacket from Alexander McQueen’s fall winter 2002 collection, sourced from London’s West Archive. “I wanted it to be romantic, beautiful,” McQueen told Vogue of the collection at the time. “Power to the women!” The designs melded milkmaid necklines with Helmut Newton-esque details like leather bodices and tight pencil skirt. It’s the same—sometimes pleasurable, sometimes painful—dichotomy that has fascinated the Catalan star.

There’s also a pair of rosary-bead strapped and cross charmed sandals from McQueen’s spring 2003 collection and a Nicolas Ghesquière-era Balenciaga spring 2004 bloom pink pleated silk dress—another body-contouring couture-like collection that, as Ghesquière put it, “gives power to femininity” through the contrast of structure and fluid textiles. Both were sourced from Barcelona’s Algo Bazaar. Another scene sees Rosalía in a gray fringed scarf-top and a low-rise pleated skirt from the McQueen-era Givenchy spring 1997 collection, and a button adorned tank top from McQueen spring 2003. Both Ghesquière and McQueen’s female characters have enchanted the pop star, from Ghesquière’s mythological goddesses to McQueen’s witches; quite right for an artist whose album is influenced by medieval mystic Hildegard of Bingen and former sex worker turned poet and saint Vimala.

Source: Vogue / www.vogue.com

By: Anna Cafolla