Chappell Roan has arrived at the 2026 Grammys—and she’s brought her signature theatrical style with her.
The eight-time nominated artist followed up her 2025 debut with a custom Mugler piece that was bold even for her: a sheer, deep-red chiffon slip draped from nipple rings that floated down her body and into a long train behind her. The dress, complete with a second-skin base covered in striking tattoos (including a “princess” one on her lower back), was a version of a look from the brand’s spring 2026 show, the first from new creative director Miguel Castro Freitas. And that dress was inspired by the pierced-nipple gowns in Mugler’s “Jeu de Paume” spring/summer 1998 couture show, which have gone down in fashion history.
Roan’s stylist, Genesis Webb, helped conceive the Grammys version and zhuzhed up the ensemble with matching underwear, a gold choker, and open-toe heels.
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For her makeup, the “Good Luck, Babe!” star—nominated tonight for Record of the Year (“The Subway”) and Best Pop Solo Performance—and her glam team leaned a bit simpler than is typical for the artist, focusing on shades her long lashes and leaving her brows natural. After debuting a newly-chopped bob, she returned to her go-to long locks, braiding her red waves for an ethereal mermaid style.
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Last year, the Midwestern princess not only made her Grammys debut, turned the stage into a “Pink Pony Club,” and won the competitive Best New Artist award—she also took the opportunity to speak up for developing artists and advocate for fair labor practices in the music industry.
“I told myself that if I ever won a Grammy and got to stand up here before the most powerful people in music, I would demand that labels in the industry profiting millions of dollars off of artists would offer a livable wage and health care, especially to developing artists,” she said at the 2025 ceremony, diving into her own story. “I got signed so young—I got signed as a minor. When I got dropped, I had zero job experience under my belt, and like most people, I had quite a difficult time finding a job in the pandemic and [could not] afford insurance.”
“It was devastating to feel so committed to my art and feel so betrayed by the system and dehumanized,” she continued. “If my label had prioritized it, I could have been provided care for a company I was giving everything to. Record labels need to treat their artists as valuable employees with a livable wage and health insurance and protection.”