Haute rock

To dress the lead artists for this world premiere, Chloé Mendel Corgan is bringing couture to the stage.

When Billy Corgan and Lyric Opera of Chicago first began to envision what A Night of Mellon Collie and Infinite Sadness might look like, live onstage, it wasn’t just about the music: There was scenic and costume design to consider, too. They’d need an overall vision, of course, and garments to dress Billy and the four opera singers accompanying him. Their attire needed to reflect and respect the music, but also the occasion, the circumstance, and, of course, Billy himself.

And so Billy turned to a regular creative collaborator, one who knows him and his music maybe better than he knows himself: his wife, Chloé Mendel Corgan, an esteemed couture designer in her own right. She began designing Billy’s Smashing Pumpkins tour looks in 2011, and they started dating the next year. Together, they run a North Shore tea shop and music venue, Madame ZuZu’s, and are raising three children in Highland Park. And, oh — with her father, Gilles Mendel, she designed the statement skirted tuxedo Billy wore to marry her at their home in 2023, an event that was covered in Vogue. They are, in short, partners in every sense.

It’s under her fashion label, House of Gilles, which she runs with Gilles, that Chloé is producing the haute couture garments for this world premiere production. Their label is known for its fashion-forward bridal gowns and bespoke occasionwear; their pieces have been worn on red carpets by celebrities from Mariah Carey and Blue Ivy Carter to Nina Dobrev, Allison Janney, and Sydney Sweeney. For Mellon Collie, she and Gilles began with 100 different sketches of Billy to try and capture a vibe. There were a few obvious directions to choose from — ’90s-era grunge, the steampunk costumery of the much-lauded “Tonight, Tonight” video, the album’s well-known iconography — but Billy had another vision in mind, one that perhaps paid homage to the Lyric Opera House itself. “Billy kept throwing around this Art Deco feeling he wanted to convey with the [costumes], but not in a period-correct way,” Chloé says. “He wanted the feeling of Art Deco without it being precise. So I started going backward. Like, what if David Bowie was in an Art Deco movie? That’s how we broke it down.”

Each of the five looks onstage bears the House of Gilles stamp: They’re modern-day designer pieces worthy of a runway or red carpet, and true to the individual artists, yet cohesive, part of a common story. The process took roughly six months: There was cutting, pattern-making, and fitting; each costume required at least four separate fittings. “The men are in tuxedos, like a 1930s man would be, but we took artistic license,” Chloé says. “They have exaggerated shoulders; it’s slightly theatrical, slightly Bowie-esque.” Chloé and Gilles worked with printmaker Simon Ungless, a longtime collaborator with designer Alexander McQueen, to finish the pieces. “We did this painting technique on the coats where they look almost wet, but when you look closely, it’s all lace designs,” Chloé says. “The lace transfers are done with a vinyl paint texture, so from afar they will look wet and textural, but when you look up close, it’s actually fine art details.”

For the women — soprano Sydney Mancasola and mezzo-soprano Zoie Reams — Chloé and Gilles tapped into their brand’s DNA: romantic, ethereal gowns, impeccably constructed. “The craftsmanship of the interior of the garments is actually more important than the exterior: how you feel in it, the security, all of those elements,” Chloé says. “And yet it’s not heavy; our construction is very light.” The metallic gowns will have a rock ‘n’ roll edge but still feel romantic, with flowers handmade in the House of Gilles New York atelier by petites mains, skilled artisans trained under Chanel.

The costumes, and the show itself, are an ode not just to the album but to Chloé and Billy’s identities and the creative space they occupy in the world

There are, of course, nods to the iconic imagery of the Mellon Collie double album: look for references to the moon, albeit with a Deco twist. But largely, what you see is fresh and fashion-forward. “We had to step away from the original imagery and build something new, something that reflects this reimagined music and the opera as it is today,” Gilles says. “There’s so much to draw from, from that album, but our goal was to capture its emotion and spirit in a fresh, authentic way, celebrating each performer for this incredible stage.” Adds Chloé: “There will be nods to that sort of whimsical dream, because it’s the DNA; but we didn’t want to make it so obvious, because that’s the easy way out — and we never do that.”

These are lessons Chloé learned growing up under her father’s wing and spending time in his atelier. In 1981, Gilles Mendel took over as the fifth-generation head of fashion house J.Mendel, originally founded in 1870 in St. Petersburg, Russia; under his leadership, the brand shifted away from furs and into dressmaking and ready-to-wear. “It was always the question people asked: Will you go into fashion?” Chloé says. “I went to art school for a semester and tried a few things — working at an architecture firm, being a personal assistant, working at a restaurant — but I kept falling back to fashion.” When she did make the final call to go all in on the industry, it felt like a natural fit, weaving together her dual passions for fashion and family. “Family has always been at the heart of her decisions,” Gilles says. “She’s always had a natural ability to create, and she’s truly a free spirit; you never quite know what’s next. Creating pieces in a bespoke setting allowed us to make true works of art together. Chloé brings so much energy and vision — she really shapes the experience and keeps me on my toes.” In 2024, after co-designing her wedding gown, Chloé and her father officially launched House of Gilles; in addition to bridal and bespoke, the label also just released its first ready-to-wear capsule, a collection that includes pleated minidresses, corseted gowns, and the house’s signature hand-made flower detailing.

The Mellon Collie costumes, and the show itself, are an ode not just to the album but to Chloé and Billy’s identities, the creative space they occupy in the world and in their community on the North Shore, maybe nowhere more so than at their tea shop. “We opened Madame ZuZu’s in Highland Park as an extension of our home,” Chloé says. “Naturally, we’re creative people, so we wanted to create a place that felt inclusive and different. For me, breaking bread is the core of connection, and that’s exactly what ZuZu’s was meant to do.” On any given day, you might find a mother with her kids, teenagers taking selfies, a meeting of the North Shore Women’s Poker Club, or even members of a semi-vintage rock band. “It’s about good music, great food, cookies, beautiful teas, and community — all the things we find fun and meaningful. It’s a space that brings people together from all walks of life.”

The seven-night showcase of A Night of Mellon Collie and Infinite Sadness is a reflection of all of this: It’s a celebration of Billy and the band, of Chicago, and of Chloé’s place in it all — fashion and family and music rolled into one. “This is such a huge achievement in Billy’s life; he’s not only honored but blown away that they would even consider making an opera with his music,” Chloé says. “So to be able to support my husband, even just as a wife, is so special. I’m touched that he wants me involved, that we can make it all happen and more.”

Elle Cashin was the longtime Editor-in-Chief of Modern Luxury Weddings magazine. She has contributed to The New York Times, Chicago Tribune, CS, The Knot, BRIDES, and other publications.