Keltie Knight wore a sparkling gold embellished cutout gown with a thigh-high slit at the 2026 Grammy Awards red carpet.
At the 68th Annual Grammy Awards , Keltie Knight embraced full-lens glitter. No tricks. No distractions. Just shimmering skin and fabric so gold it nearly blurred into the brass railings behind her.
She wore a sharply cut asymmetric sequin gown , built entirely in high-shine rose-gold embellishments that scattered light like a disco ball mid-spin. One shoulder was left bare, the other draped just enough to anchor a slashed neckline that met low in the sternum at a precise vertical slit—not quite daring, but definitely calculated. Then came the cutout waist , carved below the ribs, and the hip-high slit that drew a direct line from bodice to carpet.
The training hem—minimal, but present—trailed behind like a glitter-dusted curtain in motion. Nude open-toe stiletto heels kept things lengthened without adding clutter. Jewelry was barely there. Smart move. The gown was the jewelry.
Hair was curled into soft, structured waves, tucked just enough behind one ear to frame the face without fuss. Makeup leaned understated—matte rose lip, bronzed cheek, clean lashes—giving everything the look of polish held just shy of overdone.
What made this look sit differently was its precision. There was no chaos in this chaos. Every opening, cut, and shimmer had been placed like geometry. Intention stitched in sparkle.
The fashion verdict ? Old-school red carpet motives, executed with modern bluntness. A gown that whispered “showstopper” in a tone so confident, the crowd already knew to stop.
Zanna Roberts Rassi wore a bright red sculpted long-sleeve gown with a gathered waistline to the 2026 Grammy Awards red carpet.
At the 68th Annual Grammy Awards , Zanna Roberts Rassi proved that sometimes boldness isn’t loud—it’s clinical. She slipped onto the red carpet in a hyper-contoured crimson gown , the kind of red that doesn’t flirt with pink or orange—just red. Primary. Clean. Uncompromising.
The silhouette was smooth and slim with long sleeves that blended seamlessly into the body, almost surgical in execution. Tension hits at the waist, where the fabric gathers tightly at the center, pulling the material into subtle pleats. Not dramatic volume—just a quiet manipulation of shape. The slit at the hem , front and center, moved vertically with purpose, not seduction.
The neckline sat high. Not quite a mock-neck, not a crew. Just… calm. It left space for a single chunky chain necklace —gold, minimal, heavy—hovering right on the collarbone like punctuation. Her hair, a sharp platinum bob , was parted hard to the side and ironed so flat it looked carved. She kept the makeup restrained: smooth complexion, a hint of rose in the cheek, lips matte and matching the gown’s intensity. The effect? Power. But clean.
She finished with matching red pointed pumps , barely visible at the hem, height without flash.
The fashion verdict ? Streamlined dominance. This look didn’t scream—it stared.
Lola Young wore a cartoon-print olive green tracksuit with white socks and patent flats at the 2026 Grammy Awards red carpet.
At the 68th Annual Grammy Awards , Lola Young didn’t dress for the cameras. She dressed for herself—and maybe a mushroom-dwelling emoji character. On a night built for sequins and silhouettes, she arrived instead in a droopy, olive-green tracksuit splashed with soft-focus camouflage and airbrushed stencil prints of cartoon animals. Ducks. Teddy bears in oversized hats. Some frowning. Some a little eerie.
The sweatshirt bloused over loose-fitting drawstring pants gathered just tight enough to read “intentionally wrinkled.” Beneath the oversized collar, she layered a crisp white dress shirt with a dramatic, oversized spread and a vintagey red-and-blue striped tie , knotted high and off-center like it had been yanked in frustration. The whole look read like school uniform meets living room loungewear—with a dose of TikTok surrealism.
Hair was draped in long onyx waves, parted far to one side, with a section curled like punctuation across her forehead. Makeup leaned theatrically glam: overdrawn lashes, an arched brow that said “don’t try me,” and a constellation of faux freckles dotted across her cheeks. She wore black patent flats with glinting white socks pulled high—like recital shoes for a piano student gone rogue.
She carried no accessories. No earrings. No bag. Just an undeniable sense that nothing about the outfit happened by accident—even if it looked like it did.
The fashion verdict ? Satirical, strange, and deeply controlled. Lola didn’t wear the look so much as shrug it on like a private joke she dared us not to get.
