On Tuesday evening, just after the sun dipped behind the ancient skyline of Old Jaffa, Noa Kirel reminded everyone that after all she is just a 24-year-old who, like many her age, simply wanted to look like a princess on her wedding day, and not the pop star who performs in front of tens of thousands at Yarkon Park or dazzled the Eurovision stage.
There was something almost cinematic in that moment. Behind the gowns, the cameras, and the flood of push notifications, she evoked the image of Anna Scott, Julia Roberts’ character in Notting Hill, a movie star setting aside her glamour to confess: “I’m just a girl, standing in front of a boy, asking him to love her.” Like Roberts’ character, Kirel put the world on pause to become a young woman exchanging vows of love.
But Anna Scott was fictional. Kirel is a living, breathing brand.
The first gown, revealed at the opening night of the wedding festivities, was an elegant yet trend-conscious strapless dress designed by Alon Livne. It featured a straight-cut bodice emphasizing a low waistline, creating a visually elongated silhouette. The voluminous skirt, rich in dramatic pleats, cascaded gracefully to the floor.
The choice of this classic, breathtaking gown highlighted Kirel’s natural features and offered an elegant, unfussy look. Her long veil was embroidered with the word “forever”, a romantic, personal touch shared between the bride and her partner, soccer player Daniel Peretz. Her beauty and styling team - makeup artist Tehilla Gottlieb, hairstylist Idan Bakshi, and stylist Tom Rozilio - carefully crafted (and documented) every detail.
Later in the evening, Kirel changed into a sexier, more daring second dress, also by Livne. It featured asymmetrical cuts, geometric designs, and silver hand-embellished stones. This was a freer, more theatrical side of Kirel. Both dresses echoed elements from Livne’s recent Servant Angels collection, shown during Tel Aviv Fashion Week.
Despite strict instructions to leave phones outside, the week-long celebrations, full of vows, love and a rotating wardrobe of white gowns, dominated gossip columns and social media feeds. The wedding of the year may be over, but its ripple effects will linger. If not on television, then across social platforms and streaming services. After all, who needs privacy when you can turn your nuptials into a multi-channel content campaign?
The "Noa Kirel" emotion (and revenue) machine took the spotlight to launch a new docuseries ("I Am Noa Kirel"), and released two songs performed during the weddings. The first was dedicated to her husband, Daniel; the second, dropped during the Hilton Hotel reception, was titled "Bridezilla."
A new song
(Photo: Bar Zaga)
Back to the dresses. If the first evening’s gowns were chic and elegant, the second night showed a different side to Kirel’s personality. The party atmosphere was matched with two sexy bridal looks by Inbal Dror, one of Israel’s most prominent wedding gown designers.
Dror, known for her trendy aesthetic, designed a white strapless dress with prominent cups and drapa detailing at the waist, and a second gown, a halter-neck design with sheer elements and a sharply fashionable V-shaped waistline. These looks revealed a more relaxed, performance-ready Kirel, the version most fans are familiar with.
Unsurprisingly, she ended the evening in what could only be described as her TikTok persona: a bodysuit adorned with a crystal-studded bra and briefs, as if performing on stage. It was, admittedly, a little cringey. Still, it wrapped up her earlier festive "henna ceremony night" look, a silver sequin bra paired with a white satin skirt, styled by the “Henna Kineret” team, on a cohesive note.
Four bridal gowns (six, if you count the henna and final performance looks) aren’t just a collection, they’re a statement. Livne’s classic gown said, “I respect tradition.” The geometric follow-up whispered, “But I’m also daring.” Dror’s designs declared, “I’m fashionable, modern, and sexy.” And the final bodysuit shouted, “Above all, I’m a stage performer."
Honestly, each dress was an interesting choice, some more successful than others. The real issue was the cumulative effect: paraded one after another, night after night, it began to feel less like a wedding and more like a fashion carnival. It was hard to shake the feeling that, stunning as they were, the gowns served more as rotating set pieces in a carefully scripted spectacle than as heartfelt choices for a private moment of love.