Unlike most film and TV award shows, which can feel quite rigid and stale, the Grammys have always been about pop stars showcasing their personalities and differentiating themselves from the rest of the pack. This wild meeting of costumes, fashion and WTF-ness is a place where statements are made, and icons are created. A plunging tropical dress that crashes the internet and launches Google Images? Check. An oversized hat that built the idea of social media memes? Yep, that happened. Getting carried in an egg by aliens? Why not!
Looking back at the Grammys’ most legendary outfits is basically like entering a time capsule – the statements made on the red carpet are a reflection of the times and perfectly capture the zeitgeist of what came after. Just think of that iconic trio of Tina Knowles-designed looks worn by Beyoncé, Kelly & Michelle back in 2001, ushering a whole era of girl bands in matching-but-not-totally-fits. So if we consider the Grammys as forecasters of cultural shifts, what did the 2026 edition of the music awards tell us about where we’re heading?
For once, there was no lack of major moments being crafted behind the scenes. This generation’s pop fashion rebel, Chappell Roan, came out in a custom Mugler piece based on an archive couture look from 1998. Twisting the idea of naked dressing into a surreal space, sheets of burgundy chiffon were suspended from a duo of nipple-like pastie prosthetics, twisted and pushing the boundaries of beauty just one step further. The look was accessorised by a set of tattoos, including a large back idyllic needlepoint scene on the back.
Chappell is already recognised as someone who does things their own way, and this is the kind of individuality that can help inspire others – not just to embrace their bodies, but to question the ways they are seen by others. It was truly a naked dress to end all naked dresses. In contrast, Addison Rae dipped into the most traditional notions of femininity and emulated Marilyn Monroe as she bent over on the carpet and flashed her knickers that matched the white, voluminous Aläia dress.
On the other side of the (dis)comfort spectrum, Best Pop Solo Performance winner Lola Young rocked up to the show in a pair of trackies. Of course, they weren’t your average comfies – they came with a Vivienne Westwood label, having originally appeared in the brand’s SS25 collection. And while this was hardly the first time tracksuits had their Grammys moment (see Missy Elliott in a bubblegum pink velour Adidas tracksuit in 2003), Lola made this look her own.
The signature high-femme glam, a school uniform-reminiscent striped tie and white shirt, and a pair of patent heels were all the building blocks to Lola’s unique take. Digging a bit deeper, though, the tracksuit could also signify the shift in the connection the singer has with this environment – perhaps she is now more comfortable with the idea of fame, following her hiatus and an open struggle with addiction. The power of a tracksuit is undeniable.
Another person who boldly took his own route is the people’s princess, AKA everyone’s favourite boyband breakaway star, Harry Styles. Although he skipped the carpet portion of the show, Harry appeared on stage to present the Album of the Year award in a – wait for it – no shirt. Instead, he donned a custom Dior look designed by Jonathan Anderson.
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Reflecting Harry’s personal style preferences, the jacket was cropped and ladylike (referencing Dior’s rich womenswear archives), and the jeans were quite straight and plain. Forever a lover of WTF-like contrasts, his shoe choice was as bold as ever – mint green mules with little bows on top of them. This kind of high-low moment is something we will definitely be seeing more of in the future – a breaking of dress codes and expectations that come with blending different worlds.
Don’t be mistaken, there were many a gown moment on the carpet, too. Lady Gaga was miles away from raw meat and spiky orbs as she wore a somewhat classic trumpet silhouette – except Mother Monster’s Matières Fécales dress was covered in feathers, clearly a nod to her album Mayhem and the gothy, alt era that came with. The fit was clearly a cousin of Margot Robbie’s method wardrobe on the ‘Wuthering Heights’ tour – except Lady Gaga’s looked like it actually belonged on her.
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Following the aforementioned recipe of girlband dressing, both Katseye and FLO offered their own interpretations of matchy-but-not-quite. And while the former definitely looked fab in Ludovic de Saint Sernin, the British trio definitely edged out the competition in their embellished cobalt sets – a mix of late 1990s R&B and 2026 bodycon. It’s also important to acknowledge the political statements that were made on the carpet – ICE OUT pins were worn by the likes of Justin and Hailey Bieber, Billie Eilish and Kehlani, in protest of the immigration policies happening in the US right now.
If the 2026 Grammys were judged on some sort of fashion iconic-o-meter, they probably wouldn’t reach the heights of the past, especially when in comparison to some of the Y2K era of bold looks that altered the course of fashion history. But perhaps that is the reflection of the times we’re living in? Still a far cry away from ‘quiet luxury’, the looks that were served told their own story. A story of eclecticism and individuality rising amid general mediocrity and sadness that frames our society right now, all without the need to scream or stop traffic.
