Ever wondered what it's really like behind the velvet ropes of the world's most exclusive debutante ball? Team GB skier Gabriel Gledhill gives us a peek into the glamorous chaos of Le Bal, and trust me, it's more than just pretty dresses and waltzes.
Gabriel Gledhill, a name you might recognize from the slopes or the cover of Tatler, traded his skis for a crisp white tux to become a cavalier at Le Bal – a night so exclusive it makes the Met Gala look like a casual Tuesday. He jetted from Oslo to Paris, diving headfirst into a whirlwind of high-society etiquette and breathtaking extravagance. But here's the kicker: being a cavalier is about way more than just looking good.
Hubert Cecil captured it all, but Gledhill himself spills the secrets.
Imagine swapping -30 degree mountain conditions for the opulent ballroom of Paris's Shangri-La Hotel. That's precisely what Gabriel Gledhill did, accepting an invitation from Le Bal's CEO, Ophélie Renouard. Intrigued, he dove into research, watching "Le Bal Paris," a documentary showcasing the prestigious debutante ball's history, which originated at the Chateau de Versailles. His expectations were high: a stunning display of international fashion, a glamorous evening, and an unforgettable experience. And, spoiler alert, he wasn't disappointed.
His journey began with a flight from Oslo to Paris, followed by a crucial stop at Jean Jacques Cérémonie, the tailor recommended by the ball organizers. The mission? A flawless white tie fitting. Since it was his first time in Paris, Gledhill squeezed in a run, taking in iconic landmarks like the Eiffel Tower and the Arc de Triomphe.
Friday evening brought the rehearsal, a laid-back affair where debutantes, cavaliers, and their families mingled. It was here that Gabriel first met Ruby Kemper, his debutante for the evening. Ruby's lineage is Hollywood royalty: she's the granddaughter of Kirk Kerkorian, the legendary former owner of MGM Studios.
Gledhill recalls, "We immediately got on." Despite Ruby's Los Angeles roots and Gabriel's upbringing split between Ipswich and Vancouver, they found common ground in their shared West Coast sensibilities.
Le Bal ensured everyone was waltz-ready, providing a dance instructor. But Gledhill, ever the prepared athlete, had already taken two waltz lessons near Oslo. He didn’t want to embarrass Ruby with clumsy footwork.
Luckily, they weren't one of the three couples selected to perform the waltz solo in front of the entire crowd. The rehearsal covered everything: proper waltz technique and the choreography for walking in and posing for photographers. If you wanted to get creative with your poses, you could. Gledhill admits he would have been incredibly nervous without this practice.
The Kemper family extended their hospitality, inviting Gabriel to dinner. Ruby's sister, Tess, a Le Bal alumna from 2016, offered valuable insights based on her own experience. Tess's positive memories of Le Bal were a major factor in Ruby's decision to attend.
Luc Braquet immortalized Gledhill's Tatler cover.
Tess's advice was simple: relax and enjoy the night. She had maintained a connection with her own cavalier and was also a wealth of knowledge about the best bars and clubs to hit after the ball.
Saturday involved a quick Louvre visit before returning to the Shangri-La for an afternoon rehearsal. After running through the schedule and conducting interviews, it was time to prepare for the main event. Gledhill sheepishly admits struggling with the bow tie.
Upon arrival, the focus shifted to photographers. Posing with Ruby and in group shots on the grand marble staircase was the name of the game. Afterwards, the debutantes and cavaliers retreated to a room to mingle while the guests were seated.
From mastering the waltz to carrying the essentials, Gledhill embraced his cavalier duties.
Luc Braquet's camera captured the essence of the event.
As the elevator ascended to the ballroom, nerves began to set in. Standing in order of procession, Gledhill felt his heart rate spike. The pressure was palpable, especially for the debutantes, who had spent months collaborating with designers on their gowns.
Ruby, radiant in a Chrome Hearts dress, and Gabriel made their entrance. While some dresses were voluminous, Ruby's sleek design allowed for graceful twirls, a detail Gledhill appreciated during the photo ops.
He viewed his role as a supportive one, carrying Ruby's phone and lip gloss, essentials that wouldn't fit in her pocketless dress. He also focused on easing her nerves during the momentous occasion.
Following the procession, the debutantes and cavaliers enjoyed a private dinner.
Hubert Cecil captured the perfect match of Gledhill's white tie and Ruby's Chrome Hearts gown.
Then, the debutantes returned to the ballroom for another walk-through before everyone joined for the waltz. After about 30 minutes, the music shifted from classical to noughties pop, think Justin Timberlake.
The atmosphere transformed. People relaxed, and champagne flowed. Gledhill spotted Tatler's editor-in-chief, Richard Dennen, a former cavalier himself, and made sure to say hello. Lady Araminta Spencer-Churchill, his Tatler cover co-star, was also a debutante, stunning in an Armani gown. But the most surreal moment? Seeing Angela Bassett, whose daughter, Bronwyn Vance, was a debutante, on the dance floor. A self-proclaimed fan of Black Panther and Mission Impossible, Gledhill was completely starstruck.
The cavaliers changed into more comfortable attire, and the group piled into taxis, heading to L'Arc, a nightclub near the Arc de Triomphe, where Le Bal organizers had arranged VIP access.
Luc Braquet documented Gledhill's connection with fellow Tatler cover star Lady Araminta Spencer-Churchill.
The night was a blur of fun. Gledhill didn't return to his hotel until 6 a.m. He chatted with Albert Windsor about life in Rome, his studies, and future aspirations, even exchanging phone numbers. He also spent time with Magnus and Carolina Lansing, the grandchildren of fashion designer Carolina Herrera.
Towards the end of the night, Magnus offered a profound observation: "Take this in. This is an incredible moment. If you take a step back and think about the meaning of this, it is quite extraordinary."
Gledhill's advice for future cavaliers? "Get ready for one of the most exciting and best nights of your life, but stay quietly confident as you’re the one guiding the debutante."
As told to Isolde Walters.
And this is the part most people miss... Le Bal, while undeniably glamorous, also represents a complex intersection of privilege, tradition, and cultural exchange. Some might argue it's a celebration of heritage and international connection, while others see it as an outdated display of elitism. Where do you stand? Does the event's charitable component justify its exclusivity? Is it a harmless fairytale or a symbol of inequality? Share your thoughts below!
