Nikki Glaser wore a black structured vinyl gown with dramatic slit at the 68th GRAMMY Awards in Los Angeles on February 1, 2026.
At the 68th GRAMMY Awards on February 1, 2026, held at Crypto.com Arena in Los Angeles, Nikki Glaser showed up in a look that didn’t flirt with drama—it wrapped itself in it like armor. Her black gown , sculpted from a high-gloss fabric that reads as vinyl or liquid patent , clings and reflects like surface tension. It’s sharp. Asymmetrical. Aggressive in the best way. The off-the-shoulder neckline splits wide on one side, the fabric folding like a pressed blade across her arm. Her right leg? Fully exposed via a sky-high side slit , making it less of a flirt and more of a statement: “Yes, legs. Singular weapon.”
Accessories stay in lane— black pointed stilettos , visible rings stacked over glittered nails, and sculpted stud earrings. Hair? Slicked center part , pulled back firmly into a low bun. Very little movement. Very little softness. It’s not trying to be approachable.
In a landscape of sparkle and softness, this look cuts like a razor—on purpose, and with a smirk.
Laufey wore a custom lilac beaded Miu Miu gown with Jimmy Choo Rosie Satin Platform Sandals at the 2026 GRAMMY Awards in Los Angeles.
At the 68th GRAMMY Awards on February 1, 2026, held at Crypto.com Arena in Los Angeles, Laufey looked like she walked out of a jazz-soaked dream in powder lilac. Her body-skimming Miu Miu custom gown felt vintage—but built with intent. The neckline dipped into a deep V , traced cleanly with crystal embellishment , while silvery beaded embroidery scattered lightly across the bodice like dew clinging to lavender silk. The skirt flowed downward in a sheer base overlaid with horizontal rows of intricate fringe beading —softly glinting, swaying gently with each move, never screaming but always speaking.
This wasn’t loud. This was careful. Quietly constructed. The kind of silhouette that asks you to notice the work, not the performance . The hair—center-parted, loose waves, nothing too done. The makeup followed—dusty mauve on the eyelids, a flush rather than a contour. Nothing felt forced.
Nestled beneath the hem, just barely visible: Jimmy Choo’s Rosie Ivory Satin Platform Sandals —a match in tone, not texture. The glossy satin adds a polished lift to the otherwise diffused elegance of the look.
What made this ensemble feel current, though, is its restraint. In a field of bombastic looks and performative skin-baring, this was a gown made for a different kind of entrance . One that doesn’t grab the mic but sits at the piano instead.
In letting softness speak, this dress reminded the room that subtle doesn’t mean small.
Tallia Storm wore a column-style gown with comic graphic pop art print at the 68th GRAMMY Awards in Los Angeles on February 1, 2026.
At the 68th GRAMMY Awards in Los Angeles on February 1, 2026, Tallia Storm walked the red carpet like a full-page spread torn straight from a Roy Lichtenstein dreamscape. Her fitted gown , sculpted to the body like second skin, acted more like a mobile canvas than clothing. Layered in oversize, emotionally explosive pop-art prints —wide-eyed women mid-cry, bold black lines, lipstick reds—there’s no subtlety here, and no attempt at it. It’s fashion-as-volume-knob: turned all the way up . The sleeves billow from the arms in enormous flowing panels, styled like superhero capes, dragging low to the ground with black feather trim like mascara smudges at the hem.
Her posture—wingspan wide, elbows proud—makes the styling perform itself. There’s no jewelry showstopper fighting for air. Just a chunky necklace, some soft retro-flipped hair, and the rest left loud to the print. Venturing into true “look at me” couture , this silk billboard of an outfit claims space unapologetically—a cartoon scream over the usual sparkle noise.
This kind of fashion moment walks a strange line. Is it ironic? Is it art? Is it just fun? That’s where this year’s red carpet fashion is leaning: toward contradiction. The designer outfit doesn’t ask to be liked—it asks to be stared at. Closely. Repeatedly.
In an era obsessed with “quiet luxury,” this look practically shouts through a megaphone—and somehow lands.
