Parker was among the first to arrive at the David H. Koch Theater. Accompanied by her husband, Matthew Broderick, she effortlessly showed off her three-dimensional, honeycomb-like dress. A sheer black net flowed into a long train, while the wings fanned dramatically from her shoulders. “The wings were created to extend the body in a morphing silhouette,” van Herpen told Vogue. “That’s what I did with her dress and with all the costumes in the performance—to have an aura around someone. The design of the dress is like scales; it reminds me of fish in water.”
Van Herpen revealed it took four months to create Parker’s look, made from an ultra-light “air fabric” produced in Japan. “It’s the lightest fabric on the planet. One thread is five times thinner than a human hair,” the Dutch designer explained. “The bodice uses what I call the honeycomb technique—it’s three-dimensionally stitched, which creates depth and fluidity in movement.”
Foreseeable Future marks van Herpen’s second appearance at the Fall Fashion Gala—her designs were first seen in Benjamin Millepied’s 2013 ballet Neverwhere. “She wears it so beautifully,” van Herpen said of Parker with a smile. “She’s like a black angel.”
The gala opened with Gianna Reisen’s Composer’s Holiday, a 2017 original work choreographed when Reisen was just 17, making her the youngest choreographer in NYCB’s history. The twelve-minute piece featured lightning-fast footwork set to Lukas Foss’s 1940 neo-classical composition “Three American Pieces.” The audience gasped when a group of dancers lifted and tossed one performer into the air. Costumes by the late Virgil Abloh of Off-White contrasted light and dark tones, creating a visually striking tableau.
Next came William Forsythe’s flirty Herman Schmerman Pas de Deux (1992), set to an electronic score by his longtime collaborator Thom Willems. The piece included costumes by Gianni Versace and featured the second section—a pas de deux—performed in matching yellow skirts and sheer mesh tops designed by Forsythe himself.
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DavidesoRi
novembro 12, 2025 at 1:44 am
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Disney made a smart choice’
Despite the comparisons, Abu Dhabi isn’t positioning itself as a direct rival to Orlando — it’s aiming to be something more. The emirate sees its theme parks as part of a bigger portfolio of attractions, alongside cultural landmarks, luxury hotels, pristine beaches, and desert adventures.
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A 15-minute drive from Yas Island, Saadiyat Island is home to the Louvre Abu Dhabi, a franchised outpost of the famous Paris art museum, which welcomed 1.4 million visitors last year, 84% from abroad. The Guggenheim Abu Dhabi and Zayed National Museum are both under construction, adding to a cultural district that will be one of the region’s most concentrated hubs of art and heritage.
“Abu Dhabi’s unique appeal lies in the diversity of our tourism offering,” Al Geziry added. “For thrill-seekers, we have record-breaking roller coasters and dune bashing in the desert. For culture lovers, historic sites like Al Ain Oasis and institutions like the Saadiyat museums. And for luxury travelers, world-class dining, private island resorts, and high-end shopping.
“Where else can you start your day under the Louvre’s iconic rain-of-light dome and end it in the immersive, story-driven worlds of Warner Bros. World or Ferrari World?”
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Still, not everyone is convinced that Disney’s expansion into the Middle East is a sure bet.
“The region has seen its share of false starts,” says Dennis Speigel, founder of the International Theme Park Services consultancy, comparing it to neighboring Dubai’s patchy record with theme park expansion ambitions in the mid-2010s. “Several of them struggled for profitability in their first decade.”
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Saadiyat Cultural District in Abu Dhabi is set to become one of the world’s preeminent arts and culture hubs, with one of the highest concentrations of cultural institutions globally. But the area isn’t just for art connoisseurs. Explore what to do in the new district, from iconic museums to luxurious beach days to decadent dining options.
You can walk between the Louvre and the Guggenheim in this new art district
Spiegel believes Abu Dhabi is different. “Disney made a smart choice. The infrastructure, safety, and existing leisure developments create an ideal entry point,” he told CNN earlier this year. “It’s a much more controlled and calculated move.”
Under its Tourism Strategy 2030, Abu Dhabi aims to grow annual visitors from 24 million in 2023 to more than 39 million by the end of the decade. With Disneyland as a centerpiece, those targets may well be surpassed. The city’s population has already grown from 2.7 million in 2014 to more than 4.1 million today, a reflection of its rising profile as a regional hub.
Yas Island alone has been transformed in the space of a decade from a largely undeveloped stretch of sand to a self-contained resort destination, complete with golf courses, marinas, a mall, more than 160 restaurants, and a cluster of high-end hotels.
Orlando’s head start remains formidable — it still offers multiple Disney and Universal parks, has decades of brand loyalty, and an infrastructure built to handle tens of millions of tourists annually.
But Abu Dhabi is catching up fast. Its combination of frictionless travel, year-round comfort, cutting-edge attractions, and a cultural scene that adds depth to the experience gives Abu Dhabi its own unique selling point, potentially offering a model for the next generation of theme park capital.