Vienna Opera Ball: How the Swarovski Tiara and the Ball Belong Together

The Vienna Opera Ball 2025 takes place today, February 27th. A VOGUE editor was already at the event the year before – and explored the special relationship between Swarovski and the debutante's tiara.

"For me, it was one of the most beautiful evenings. I, a Tyrolean girl of not even 20 years, drove to big Vienna and danced alongside stars like Udo Jürgens. You never forget something like that - not even 30 years later," says Heidi, surrounded by sparkling crystals in the Swarovski factory, which is just 20 minutes by car from Innsbruck. Designers from all over the world come here, to Wattens, to have crystal cuts and colors developed according to their individual ideas. And here I meet Heidi to hear about that time - when she made her debut at the Vienna Opera Ball. Heidi brought something special with her: a crown with crystals and red garnets. Behind her on the wall are also numerous crowns and tiaras lined up, which, polished to a high shine, glitter in the light of perfectly aligned spotlights. In comparison, the crown in Heidi's hands already has a slight patina, and the stones no longer shimmer quite as brightly. No wonder, since the crown does not come from a hermetically sealed archive, but from her own private collection. The tiara has probably spent the past few decades in a box or drawer - after it adorned Heidi's head as a debutante in 1994. "In fact, my debut was my first contact with Swarovski," she reports, adding: "The crown was like a treasure to me as a young girl!"

As small as this treasure may seem (Heidi's crown is just the size of a palm), it represents a long and significant history. During the Congress of Vienna at the beginning of the 19th century, large celebrations were held in the Austrian capital, and as early as 1862, the Theater an der Wien received imperial permission to hold balls. 1918 marked the end of the empire, but the lavish celebrations were to continue. And so the Vienna Opera Ball took place for the first time in January 1935. The Second World War followed, and with it the destruction of the opera house, which was finally reopened in 1955 - and in which a ball was held again in February 1956. Since then, the Opera Ball (which usually takes place on the Thursday before Ash Wednesday) has marked the social high point of the Vienna ball season, which includes around 450 balls for a wide variety of professional and interest groups. And since then, Swarovski and the Opera Ball have been inseparably linked.

Since the 1950s, the tiara worn by debutantes at the Opera Ball has been made of Swarovski crystals. While the experts from Wattens had supplied the crystalline raw material for the crowns to the manufacturers commissioned by the ball committee for decades, a tiara was specially designed by Swarovski for the first time on the occasion of the 50th Opera Ball in 2006. Up until then, the design of the crowns had hardly changed: after the first Opera Ball crown in 1956 was made of tulle with sewn-on sequins, subsequent models were made of crystals and semi-precious stones and had a closed shape which - reinforced by the straight position of the crown on the top of the head - was intended to ensure "that its sparkle could be seen in all the boxes and from the gallery", as Swarovski says. The novelty in 2006: With the tiara design of the then Swarovski creative director Rosemarie Le Gallais, the traditional closed crown design was replaced by a more modern tiara that is open at the top and back. Numerous reinterpretations of the Opera Ball tiara followed - from 2012 also those in collaboration with well-known designers. In 2017, for example, Karl Lagerfeld designed a tiara made of 394 clear and sapphire blue crystals and five Swarovski crystal pearls, which was inspired by the traditional opening waltz of the Opera Ball, the "Danube Waltz" by Johann Strauss II. In 2019, Swarovski cooperated with Donatella Versace, in 2020 with Christian Lacroix. After a two-year Corona break, there was another debut in 2023 - in addition to that of the dancers: For the first time, Global Creative Director Giovanna Engelbert designed the Opera Ball tiara. Inspired by the "Stella" jewelry line and the iconic hair jewelry of Empress Sisi, stars made of 435 clear crystals adorned the tiara. The "Mesmera" jewelry line from Swarovski served as inspiration for the 2024 tiara: "Each tiara combines both Austrian heritage and the current zeitgeist and is made from 233 crystals in 20 cuts. The stones are set so elegantly that they catch the light with every movement," explains Swarovski.

The changing role of Swarovski in the creation process of the tiara on a small scale is symbolic of the evolution of the Swarovski company on a large scale: from the origins of a small domestic company for hand-cut glass stones to the supply of machine-made crystals for Parisian fashion greats such as Elsa Schiaparelli, Christian Dior and Pierre Balmain to the establishment of its own brand identity as an internationally renowned jewelry label. A development that can also be seen in the employees: started in 1895 with ten employees, Swarovski employed almost 2,000 people in the 1950s - i.e. at the time when the creative collaboration with the Vienna Opera Ball began. And today? There are said to be over 20,000 worldwide. As in almost all industries, their work has changed dramatically as a result of digitalization. 3D designers now also work in the Swarovski factory in Wattens. Especially with such elaborate pieces as the Opera Ball tiara, a lot of preparatory work is done on the computer - to save time and material costs. The designs and ideas, which are mostly drawn by hand, are first digitized as a 3D construction by creative director Giovanna Engelbert. The 3D designers then test what is technically feasible in order to bring the creative vision to life as precisely as possible. A wax model is then created using a 3D printer, from which a plaster model is created that is cast in metal. Then comes the precious metal processing, polishing and alloying and, of course, the arrangement and setting of the differently cut Swarovski crystals. This prototype is then sent back to the design team around Giovanna Engelbert for review and finally to the ball committee for approval.

A sophisticated process - just like the Opera Ball itself. After all, there are around 7,000 people in the State Opera building on the evening of the ball: in addition to the 160 dance couples and other participants, there are also the opera employees and the approximately 5,000 invited cultural workers, entrepreneurs, politicians and celebrities. An event of this size needs to be planned down to the last detail. Many of the processes resemble a kind of ritual that is difficult to describe as an outsider. When the curtain falls on the last opera performance at around 10 p.m. on Monday, the renovations begin immediately. After all, there are only around 70 hours until the doors open on Thursday evening in which the Vienna State Opera with chairs, stage and orchestra has to be transformed into a danceable ballroom of 850 square meters. According to reports from "Der Standard", 350 skilled workers and 150 assistants are busy for 30 hours on the renovation, which is estimated to cost 1.5 million euros.

The ball officially begins shortly before 10 p.m. when the Federal President enters his box. A fanfare composed especially for the Opera Ball plays - keyword ritual. This is followed by the national anthem and Beethoven's setting of "Ode to Joy". Then the debutantes' grand entrance: two couples next to each other walk into the hall one after the other, perfectly lined up. Their steps seem almost painfully small. How must you feel in their place? Over 10,000 eyes on you. Just don't stumble. They probably last ate and drank hours ago. The excitement and nervousness. And the opening dance doesn't even follow the entrance. The debutantes now have to stand at the edge of the dance floor for almost an hour - in the best posture, of course - and watch several singing and dancing performances. Then, at 10:45 p.m., the grand entrance. To the sounds of the "Fan Polonaise", the dance couples enter the middle of the dance floor in perfect synchronization. This is followed by bows in front of the Federal President's box and then the opening choreography (to the "Pepita Polka"). This has been designed by various dance schools from different federal states since the 2009 Opera Ball and is based primarily on the so-called black and white effects that arise from the specified debutante outfits. So simple and yet so effective. Ohs and aahs echo through the opera hall. I too join in the cries of enthusiasm and can hardly decide whether I want to film the spectacle with my cell phone or make the most of the moment. Then the finale: To the Viennese waltz, the couples whirl across the dance floor - counterclockwise, of course. Suddenly, from somewhere, the cry "Alles Walzer" (Everyone's waltz). A command that Johann Strauss II once coined and with which the dance floor is opened up to everyone. Although: dance floor is actually the wrong term at that point. Because dancing is hardly possible at that time due to the crowds. In a very small space, a few couples sway sideways or spin on the spot. And despite the crowds, they always stand out: the debutantes with their heads crowned with Swarovski crystals.

Then the hall slowly empties out - because there is no shortage of alternatives: the entire opera house is open for the night. Bars are opened on the various floors, rooms and foyers, where a wide variety of music styles are played. At midnight and at two and four o'clock (you notice, rituals!), the audience quadrilles follow on the dance floor in the ballroom, guided mass choreographies that often lead to amusing mishaps. The ball officially ends at five o'clock - and on Saturday evening the curtain rises again for the regular performance. As if nothing had happened.

For the opera, this means four days of emergency – for the debutantes, it begins much earlier. Almost half a year before the actual evening, the willing dancers have to submit their application to the State Opera. In theory, anyone can apply – not just Viennese or Austrians. However, "In order to be accepted into the young ladies and young gentlemen committee, a number of requirements must be met," the State Opera's website states. These include "very good left-hand waltz skills" and a certain age range (18 to 25 years for the "young ladies" and 18 to 28 years for the "young gentlemen"). In addition, you must not have opened the Vienna Opera Ball before, as debuting there is only possible once. And: "You have to have very good posture," as Heidi tells us, not without pride – and imperceptibly stands up straighter. After all, the tiara, which the debutantes are allowed to keep after the ball, must not slip off your head.

But to make your debut at the Vienna Opera Ball, you have to be willing and able to afford it. In addition to the committee ticket of 130 euros each, the debutants, who also need years of dance experience from dance schools, also have to pay for clothing, shoes, hair and make-up. And: Before the ball, there are a few rehearsals in Vienna that are compulsory. Limiting factors that do not exactly contribute to the accessibility of the Opera Ball. If you are looking for the detailed dress code for the opening committee, you will find it on the State Opera's website. There it says for the women's position: "pure white, floor-length ball gown (no crinoline, no glitter as an appliqué, worked into the fabric or anything else, no traditional costume), pure white gloves up to the elbow, pure white shoes closed to the front and only subtle and inconspicuous jewelry (only very thin chains, no wristwatch, no pins, medals or pins)." It also states: "Mandatory for all debutantes: pinned-up ball hairstyle, in which the tiara is incorporated so that it is non-slip." According to the State Opera, for the men's position, a black tailcoat, white waistcoat, white bow tie, white gloves, white pocket square, black patent leather shoes with black shoelaces and black socks are mandatory. They should also not wear badges, medals, pins or watches. In addition, long, loose hair is prohibited. Furthermore, the following applies to everyone: "no conspicuous hair colors, no hair accessories (except for the tiara for the women's position), no striking piercings (especially tunnels) and conspicuous tattoos" and "no head coverings".

You can think what you want about these strict and conservative rules. But once you have witnessed the almost hypnotic black and white effects of the opening ceremony, you can at least understand the regulations. Which does not mean that the Opera Ball cannot be discussed controversially. The prices and decadence have always attracted critics. It is an event that seems out of time. One that does not care about clichés, but celebrates them. While in child-rearing, attention is now paid to breaking stereotypical gender roles and encouraging girls not to want to be "just" princesses, this traditional image seems to be omnipresent at the Opera Ball. But something is happening: in 2020 there was a same-sex couple for the first time. The two women wanted to "promote equal opportunities at such conservative events," as "Der Standard" writes. In 2023, two female couples were among those making their debut at the Vienna Opera Ball, but like everyone else, they appeared in white dresses and tailcoats. Only the one dancing the female position wore a tiara. And a male couple has not yet made their debut. In an interview with "Der Standard", one of the dancers at this year's Opera Ball speculated that a man in a white dress might be going too far for the organizers. "I would celebrate it, anyway," she is quoted as saying. Since the 2000s, the Opera Ball has also been cooperating with the inclusive dance project "I am OK" for people with disabilities. Since then, club members have repeatedly made their debuts - in 2024, a couple with Down syndrome who had already independently won medals in dancing at the Special Olympics.

One thing is clear: despite all the traditions, the Vienna Opera Ball has to move with the times. Society and people change - and ultimately they are the ones who make the ball what it is. Alexandra Winkler, co-owner of the legendary "Hotel Sacher", knows this too. She says: "A ball, similar to our hotel, is characterized by the fact that encounters take place - between art and culture, business and politics, society and science." Like Swarovski, the "Hotel Sacher" has a long history with the Vienna Opera Ball. If only because of its direct proximity in the 1st district. Only Philharmonikerstrasse separates the two historic buildings. "The 'Sacher' and the Opera Ball belong together in a special way. So there has always been a dinner in the 'Sacher' before the ball," Alexandra Winkler told me shortly after the ball last February, when she once again hosted over 400 people for a pre-ball meal. The tiara also played a role: "This year it was really particularly beautiful. Swarovski made it possible for us to have one of them hanging from the chandelier in the entrance hall above an extra-large original Sachertorte." Alexandra Winkler herself once wore such a crown, making her debut at the Vienna Opera Ball in 1993: "I grew up in the 'Sacher' and thus also grew up with the Opera Ball. So I learned from an early age how important it is. That's why I knew as a young girl that I definitely wanted to make my debut there one day. I still remember that I was really looking forward to it." She still remembers the nervousness of the evening itself ("The opening was always broadcast on television, so every dance step had to be perfect") - and of course her Swarovski crown. "The crown was made of crystals and had a red stone in the middle. I have kept it to this day. That shows how much you value this souvenir even later on." Today, as a businesswoman, the ball is of course also relevant to her as a driving economic factor. But not only that: "There is a very special magic at the Opera Ball. For one night, people should feel like they are in a fairytale. A night that is simply something very special."

Heidi also remembers this special night vividly. "Oh, a ball like that, we should really do it again sometime," she says, looking at the sparkling tiara in her hands that she once wore.

This article was part of our VOGUE issue for June 2024 with VOGUE Austria special. You can currently order the VOGUE Spring Issue 2025 designed by Anna Deller-Yee in a strictly limited subscription deal with 3 further issues of VOGUE and VOGUE coloring book .

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