Beyoncé Made So Many Costume Changes in the ‘Spirit’ Video, We Almost Lost Count [Updated]

So far, we’ve counted 12—yes, 12 outfits that Beyoncé reportedly sports in the four minutes and 31 seconds the “Spirit” video runs. That’s gotta be some kind of record.

Granted, only 10 of Beyoncé’s reported 12 costume changes made the final cut of the official video for the first single from her Lion King-themed album of original songs, The Lion King: The Gift. We’re sure there’s an extended version or making-of Netflix special coming soon; we’re also sure we’ve never seen this many looks in a single video before—even a Beyoncé video. I mean, the only thing the woman didn’t wear was shoes. (On that note, shouts to stylist Zerina Akers—girl, you did that...and I bet you needed a nap after. Also, thanks to IG account @beyonce.fashion for the assist in compiling this list.)

So, let’s start at the beginning: Always one to make an entrance, our first glimpse of Beyoncé is in a two-toned, show-stopping, silk taffeta ruffled gown and opera coat by Maison Valentino, worn over a tulip-cupped latex mini dress by Bizarre Fetish Couture, aka Venus Prototype (because I always wear latex in the desert, don’t you?). The effect? Desert flower...because if anyone could bloom in a barren landscape, it’s Beyoncé.

Next up? This royal blue, one-shouldered, hooded jawn (it’s likely just a shoulder drape, but we’re here for the repurposing) that fits Bey like a second skin, and is perfectly offset by armfuls of gold bangles. We’ve yet to find out who designed this dress, but the scene was reportedly filmed in front of the Havasu Falls in Grand Canyon National Park, and the oasis effect was real. Way to quench the thirst of the Hive.

Next, Bey suits up in a graphic look from Tongoro Studio (complete with their “Cairo” brass facepiece, which makes a reappearance on her dancers in the fifth look), an African label she first wore during multiple appearances during last winter’s Global Citizen Festival. Nice to see this fresh-to-death label getting more love from the global superstar. (This may also be the only look that was completed with shoes, according to @beyonce.fashion; an ivory stiletto by Francesco Murano)

For a dip in rose-colored waters likely meant to evoke Lake Retba in Senegal (despite the video reportedly being entirely filmed in the Grand Canyon, according to Vogue), Akers gave Bey a pink-on-pink moment, dressing her in a gauzy fuchsia dress by Shahar Avnet, who also designed one of Bey’s most memorable looks from the European leg of last year’s On the Run II tour. We later see the dress in its flowing full glory on the savanna, but if you’re keeping time, this fourth look appeared before the 1:30 mark.

Next, a design I readily recognized, because I also own a variation of Norma Kamali’s iconic cutout-sleeve jersey dress, which she’s been producing for well over a decade (or several). Of course, Bey’s is the latest and greatest iteration, a citron version from Kamali’s Resort 2020 collection.

At least one eagle-eyed viewer believed the next outfit referenced the 2018 remake of Suspiria; Beyoncé and company sported red rope dresses by Déviant La Vie, the designer of which rightfully gushed about the rare opportunity to be part of an iconic Beyoncé/Disney moment, writing, “To be [a part] of such a beautiful project will forever be the highlight of my life!”

Next, a stunning and elegant moment, as Beyoncé dons a custom beaded ivory gown by Maison Alexandrine, hand-embellished with cowrie shells by Alex Navarro Designs and paired with a cowrie shell and chain harness by celebrity favorite Laurel DeWitt, whose metal designs have adorned Cardi B, Offset, Nicki Minaj and many more. Elle reports the “Lagbadja” cowrie shell headpiece Bey wears in a subsequent shot was created by Ivorian designer La Falaise Dion (and is available on Afrikrea for $336.98).

In keeping with the ivory theme, Bey then goes full “Apeshit” in an ivory fringe (is that hair-trimmed?) coat by Hyun Mi Nielsen. Again, an epic look, made for movement.

Since nothing catches motion better, Beyoncé and Akers stuck with fringe for the star’s next look, a glittery blue fringed bodysuit again designed by Laurel DeWitt (who emerges the big winner here, creating two of the video’s most memorable fashion moments, including the closing look).

But just when you thought we were done, Bey had one more look in store, donning a pleated tomato red gown that was giving us serious Issey Miyake vibes, but turned out to be a creation by celebrity favorite Solace London. Whoever designed it, that color is giving us life.

Having now watched the video no less than five times, those are the 10 looks this writer counted—but wait, there’s more! The internet being, well, the internet, two more looks have surfaced that didn’t make the final cut, but are well worth a look.

The first? A dijon-colored custom bodycon dress by Mark Fast (who also dressed Bey for her official Lion King portrait), which appears to be trimmed in tiers of dyed-to-match Mongolian fur.

Another look that didn’t make the final cut but was glorious, nevertheless? This yellow, tulle-trimmed, strong-shouldered, cinched-waist satin jacket that gave us a serious thirst for Lemonade (and maybe some slight Fenty vibes in the silhouette).

For real, though: Is there any more incredible color on black women than yellow?

Granted, maybe these last two looks were in the “Spirit” video, and we just blinked and missed them—with a costume change approximately every 20 seconds, it’s bound to happen. But we’ll let you decide for yourself, as you watch “Spirit” for the 50-11th time.

Updated, 7/17/19 at 8:21 p.m., ET: An earlier version of this article listed the designer of Beyoncé’s fourth and tenth looks as unknown. We have since discovered the dress designers were Shahar Avnet and Solace London, respectively; the article has been revised to reflect this new information.

Updated, 7/17/19 at 11:13 p.m., ET: Additionally, the cowrie shell headpiece in the seventh look initially attributed to Laurel DeWitt was in fact created by La Falaise Dion, as the article now indicates.