“I was very nervous, as the last live show—in fact, the first live show I ever did—was with 200 people in the room, and then COVID happened, and so the next time I did a live show was at the O2 Arena, which is completely nuts,” says Griff. For her performance, she crafted a deconstructed ball gown from icy blue satin, the various panels attached with eyelets. While it brilliantly complemented Griff’s bold moves as she twirled around the stage, it also served as a perfect foil to the post-apocalyptic backdrop for the performance, which featured an enormous fabric sheet with a hole burned in the middle—a reference to the song’s title—and wooden decking for her backing musicians. “It was definitely overwhelming, but I think sometimes when it’s more intimate it can be even more nerve-wracking,” Griff adds. “It was nice to get lost in the arena a little bit.”
It helped that Griff had two other, equally impactful looks to help her through the night. (Post-performance, she slipped into a delightfully flouncy tiered Simone Rocha gown featuring pouf sleeves, a harness detail, and encrusted with pearls.) But it was her first red carpet look—designed especially for the event by the London-based, Chinese-born designer and previous LVMH Prize nominee Susan Fang—that served as the most breathtaking fashion moment. With a shimmering, silvery-blue shadow across her forehead and a single tear painted on her cheek, the final touch was an enormous, ethereal headpiece constructed from geometric wires and sparkling glass spheres.
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