Ukraine is in turmoil: The dress of Eurovision winner Jamala, recently returned to her from Sweden, has been stolen, causing an uproar on Ukrainian social media. Who stole Jamala’s dress?
The iconic outfit of Jamala, the Ukrainian winner of Eurovision 2016, was stolen after being returned to her from the ABBA Museum in Sweden. Jamala, who won first place with the song “1944” in the competition held in Stockholm, recently revealed that the dress she wore—designed by the international Ukrainian designer Ivan Frolov—disappeared under mysterious circumstances. The singer refrained from disclosing further details but posted a photo from the historic performance, leaving the Eurovision community with many questions.
Eurovision Costumes as Cultural and Political Symbols
The disappearance of Jamala‘s outfit highlights how Eurovision costumes have become highly valuable cultural symbols, not only for fans of the competition but also in the international collectors’ market. Over the years, notable costumes from the contest—such as those of Netta Barzilai from 2018 or Loreen from Sweden—have been sold at auctions, displayed in museums, and become part of the collective memory of millions of viewers. The recent theft has sparked renewed discussion about the need for preservation, security, and appreciation of items that represent not only personal achievement but also political, cultural, and historical messages—especially when it comes to artists representing countries in conflict situations, like Ukraine in recent years.
Jamala’s outfit played a dual role: it not only completed the musical performance but also conveyed a message of national identity and personal narrative—the song “1944” dealt with the deportation of the Crimean Tatars from the Crimean Peninsula, and Jamala’s grandmother was among the deportees. It is not surprising that the dress, designed by Frolov, became a coveted object. In conversations I held with Israeli Eurovision fans, the feeling repeatedly emerged that costumes are much more than aesthetics—they are tools of political, cultural, and personal expression. Especially in an era where Eurovision is becoming a charged arena—as seen this year with debates over flag waving, widespread anti-Israeli protests, and the influence of the global geopolitical arena on the competition.
In the past, there have been isolated cases of Eurovision costume disappearances, but most did not receive such wide exposure. The theft of Jamala’s outfit, against the backdrop of the political tension between Russia and Ukraine and the symbolic importance of the song “1944,” illustrates how every detail in this contest is loaded with many meanings. Given Eurovision’s growing popularity—with viewership numbers in the tens of millions annually and new records broken even in 2025—it is clear that every such story resonates far beyond the stage.
Ukraine at Eurovision 2025
“Bird of Pray” is the name of the song that was performed by Ziferblat, representing Ukraine in Eurovision 2025. Ukraine qualified for the final from the first semi-final of the contest and finished 9th overall with 218 points. Ukraine finished 6th in tele-votes and 14th in jury votes.
The Ukrainian result is their worst one since 2018.
Eurovision 2025: This was Ukraine’s 20th participation in the Eurovision Song Contest. Ukraine joined the competition in 2003 and has won it three times. Ukraine’s last victory was in Eurovision 2022 with the song “Stefania” performed by Kalush Orchestra.
