Tate McRae wore a black custom Balenciaga gown with gloves at the 68th Grammy Awards 2026 red carpet in Los Angeles.
On her first big Grammy night, Tate McRae walks the red carpet at the 68th Grammy Awards at the Crypto.com Arena in Los Angeles, California in a black custom Balenciaga gown designed by Pierpaolo Piccioli. The gown is strapless with a smooth, convex neckline that curves gently over the chest, then narrows into a fitted, almost corset-like torso. From the hips down, the front panel shifts into thin, long strips of fabric that hang straight like a dark fringe, while a clean outer layer of fabric falls behind her into a modest train. She wears long black evening gloves that reach past the elbow, adding that old-movie formality. A slim diamond necklace with a single central stone catches the light at her collarbone, and her hair is worn down, straight, and simple. The whole celebrity look feels easy to understand at a glance: clean lines on top, movement at the bottom, minimal extras.
There is a calmness to how she stands there. Shoulders relaxed, small smile, hands in those gloves that make her arms look a bit like they belong to a different era. With all the talk of Balenciaga and Pierpaolo Piccioli and a first nomination for “Just Keep Watching” from the F1 movie, you might expect drama. Instead, the designer outfit reads as straightforward: couture dress ideas filtered into something a young artist can actually move in. The texture of the fringed underskirt gives a little swish as she walks, but it is not noisy. It feels like a dress you wear when you want seriousness more than flash, when you have to get through interviews and photos and maybe a performance, too.
Culturally, it is interesting timing. A lot of younger artists at this show lean into cutouts, crystal nets, or heavy nostalgia. McRae, fresh off a year of dance-pop hits and long tours, chooses something almost reserved—structured, black, and covered. It fits the story she describes: a childhood dancer finally stepping onto the stage she imagined, but doing it in a uniform of focus instead of fireworks. Paired with Christian Louboutin black crepe satin slingbacks, a custom clutch that nods to Cristobal Balenciaga’s archive, and Lorraine Schwartz jewelry, her red carpet fashion lines up with the idea of a professional at work more than a newcomer begging for attention. One clear connection emerges: this is a nomination-night outfit that treats the Grammys like a job milestone, not a costume party, which quietly separates her from the louder pack of celebrity dresses and red carpet arrivals competing for instant viral clips.
Halle Bailey wore a strapless, bead-encrusted burgundy gown with sheer vertical paneling to the 68th GRAMMY Awards ceremony in Los Angeles.
Beads hung in quiet verticals. Slow cascades. Not flashy, just embedded. There’s embroidery, sure, but it doesn’t flirt. It sets rules. And follows them. The gown ends with that familiar hem that suggests there’s no need for a flourish—just enough fabric to stop.
Hair parted down the middle, long and sleek, nearly reaching the waist. Not a hairpiece drama or high-concept sculpt. Just steady. Minimal earrings. Smoky mauve lids. Brows intact but not militant. Lip color? Somewhere between plum and cocoa. Balanced. Whole look said: I didn’t have to try harder, and I didn’t.
Her stance—hand posed just-so on the hip, other relaxed—looked like she’d done this 47 times, maybe more. There’s a serenity to her here. Eyes not searching for the camera, but letting them come. This wasn’t a “moment” in the viral sense. But maybe it didn’t need to be. Sometimes style just stands there and stays standing.
Final thought? Nothing shouted. And that somehow lingered longer.
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.
