Blue Ivy. The show incorporated Renaissance-era and Middle Eastern instruments like the oud (stringed lute), buzuq (a long-necked, fretted lute), riq (tambourine) and darbuka (goblet drum). Beyoncé was accompanied by musical ensemble 1500 or Nothin', and Firdaus Orchestra, a 24-nationality, Dubai-based all-woman orchestra. Beyoncé was backed by Lebanese all-female dance group The Mayyas. She was raised 16 feet into the air. Swedish House Mafia performed following Beyoncé at the opening's afterparty. Fashion and stage design Beyoncé aimed to highlight emerging regional talent instead of those established. She did three costume changes, and was styled by frequent stylist collaborator KJ Moody. Two chosen up-and-coming designers included Mousa Al Awfi and Rayan Al Sulaimani through the Dubai-based mother-daughter owned label Atelier Zuhra, and Chris Habana for a Nicolas Jebran piece. Al Awfi tailored a yellow gown with a high feathered skirt, Manolo Blahnik shoes, a structured bare corset and a Marabou train resembling wings. Jebran tailored a full cape skirt linked to a red corset with gold stone embellishments, to which Beyoncé wore Lorraine Schwartz earrings and a Habana-styled Swarovski-crystal embellished "halo" headpiece. Beyoncé closed the show dressed in Malone Souliers shoes and in a custom pink "firework-inspired" corset dress by Ukrainian designer Ivan Frolov, who created it in the brand's Kyiv workshop against a "backdrop of catastrophic circumstances," to pay homage to the people of Ukraine. Beyoncé's daughter Blue Ivy was dressed in a red sequin jumpsuit designed by her grandmother Tina Knowles and Timothy White. In coordination with Beyoncé's wardrobe team and the event's general theme, the Firdaus Orchestra wore red sequined gowns and jumpers, designed by Arshia Alam of Emirati brand Arshys, who has worked with the orchestra since their debut performance. Beyoncé wore $7.5 million worth of Lorraine Schwartz jewels, a 30-carat yellow diamond ring and green Colombian emerald and diamond fan earrings that reportedly weighed more than 100-carats. The stage backdrop was inspired by Ancient Greece as a reimagined version of Raphael's "The School of Athens" painting, with Black phenotypical features and hair textures of white stone sculptures, instead of those originally painted of white people. The Firdaus Orchestra studio staff and Adi Modi created the stage monitors for the orchestra and concert. Audience The performance was invite-only and the concert had a no-phone policy. Attendees were asked to put their phones or any other recording devices in locked pouches to stop them from filming the performance.