Miley Cyrus wore a custom Celine leather moto look with balloon trousers and a giant MC brooch at the 2026 Grammys.
The 68th Grammy Awards rolled into Los Angeles on 2 February 2026 and Miley Cyrus claimed the red carpet fashion spotlight in her own unapologetic register. She chose a custom Celine leather moto jacket cinched tight, its surface sliced by silver zips and a laced-through belt. Under the collar, a crisp white button-up—cuffs flipped wide like studio lighting for the wrists. The jacket’s focal point: a sprawling gold brooch —spiky, lunar, and proudly stamped with M.C. initials—part jewelry, part manifesto.
Loose balloon-cut black trousers softened the biker energy while keeping volume in play. Pointed black pumps anchored the silhouette, toes sharp, heels needle-thin. Black leather gloves flashed stitching at the knuckles; tiny detail, big attitude. Hair? Soft bronde waves, bangs grazing her lashes. Makeup stayed bronze and hushed—letting all that metal speak first.
This look taps two currents at once: the archival swagger of motorcycle leathers and the ceremony of haute embellishment. Cyrus reframes both, wearing the jacket like a trophy and the brooch like armor. In an evening built on sequins and chiffon, she proved rebellion can arrive fully tailored.
Lady Gaga wore a black feather Matieres Fecales custom gown at the 68th Grammy Awards 2026 red carpet in Los Angeles.
On February 1, 2026, Lady Gaga stepped onto the red carpet at the 68th Grammy Awards at the Crypto.com Arena in Los Angeles, California , wrapped in a Matieres Fecales Custom Gown that turns her into a tall, inky column of feathers. The gown hugs her frame through the torso and hips before flaring into a long, dense train of layered black plumes. The neckline climbs high up the neck, almost funnel-like, with feathers pressed upright around the throat and jaw, giving a slight winged effect as she lifts her arms. Her bare arms show several visible tattoos, nails painted black to match the birdlike texture. The fabric reads as matte and slightly rough, feather edges overlapping to create movement even when she stands still, and the hem pools thickly onto the carpet behind her.
Gaga’s face is calm, almost meditative. Her makeup leans sculpted rather than glossy: softly defined cheekbones, pale matte complexion, and a neutral lip that lets the structure of the designer outfit do most of the talking. Her hair is a sleek, very light blonde, pulled tightly back and away from her face so nothing competes with the rising neck of the couture dress . When she raises her hands near her head, eyes closed, the whole celebrity look reads less like typical red carpet arrivals and more like a still from performance art, but the setting is matter-of-fact: a star on her way into a major music fashion moment .
In a year when many nominees lean into shiny minimalism or nostalgic glamour, this feathered column feels like a deliberate refusal of both. Gaga has worn meat, metal, Armani, and Old Hollywood satin; this time, at the Grammys where “Abracadabra,” “Mayhem,” and Harlequin define her current era, she goes for a grounded version of costume—intense, but not cartoonish. The black plumage echoes the darker tone of tracks like “Disease,” yet her expression is quiet, almost private, which suggests a performer who no longer needs bright color or obvious gimmick to claim space among popular celebrities . One strong insight here: the look treats the Grammys not as a shiny finish line but as another stage in her long-running experiment with how serious pop can still be while wearing feathers.
Taylor Momsen wore a black asymmetric corset dress with layered silver chains at the 7th Annual Jam for Janie GRAMMY party on February 1, 2026.
Taylor Momsen showed up at the 7th Annual Jam for Janie GRAMMY Awards Viewing Party at The Hollywood Palladium in Los Angeles on February 1, 2026, looking exactly like someone who never left 2008’s Bowery club circuit – and that’s not criticism. The Pretty Reckless frontwoman wore a black asymmetric dress with a ruched bodice and a diagonal corset panel running from shoulder to hip, secured with metal grommets and black lacing that read less Victorian boudoir, more DIY punk repair. A high slit split the right side to mid-thigh, not for red carpet drama but because movement matters when you’re used to stages, not photo calls.
The accessories told the real story. Layered silver chain necklaces – thick, industrial, including what appeared to be a cross pendant – sat heavy against her collarbone. Stacked silver bracelets and chunky rings covered both wrists and several fingers. Black platform peep-toe heels with ankle straps added height without softening the look’s refusal to play nice. Her platinum blonde hair fell in loose waves, and the heavily smudged black eyeshadow – smoky to the point of deliberate messiness – completed a visual language borrowed from Siouxsie Sioux, Courtney Love, and every girl who ever shoplifted eyeliner from a suburban CVS.
This wasn’t celebrity style trying on rebellion for the night. Momsen, who traded Gossip Girl ‘s headbands for guitar feedback over a decade ago, has maintained this aesthetic with monk-like consistency. The charitable gala context – Janie’s Fund supports survivors of abuse – added weight to the look’s refusal of conventional femininity. There’s something clarifying about watching someone show up to an industry event in what amounts to their uniform, unbothered by the implied dress code.
The corset lacing deserves attention. Not because it’s novel – corsetry has been strip-mined by fashion for centuries – but because this version felt functional rather than decorative. The grommets looked like they could take tension. The matte black fabric didn’t shimmer or beg for light. Where most red carpet interpretations of “edgy” involve a single safety pin on a Versace gown, this committed to the bit: asymmetry, hardware, and a slit that prioritized mobility over calculated reveal.
What worked was the totality. Strip away any single element and the look falls apart – the chains need the smudged eyes need the platform heels need the corset. It’s costume in the best sense: armor that signals allegiance. Not to a designer or a trend, but to a specific corner of music history that valued volume over polish, intensity over likability.
The best styling doesn’t ask for permission, and Momsen’s never has – this was fashion as refusal, dressed up for a cause that matters more than the cameras.
