On February 2, 2026, the Grammy bore witness to a fashion miracle as Schiaparelli secured its third consecutive Album of the Year win. Following in the footsteps of Taylor Swift and Beyoncé, Bad Bunny took the stage in custom Schiaparelli by Daniel Roseberry.
On February 2, 2026, the Grammy bore witness to a fashion miracle as Schiaparelli secured its third consecutive Album of the Year win. Following in the footsteps of Taylor Swift and Beyoncé, Bad Bunny took the stage in custom Schiaparelli by Daniel Roseberry.
February 2, 2026
On February 2, 2026, the Grammy bore witness to a fashion miracle as Schiaparelli secured its third consecutive Album of the Year win. Following in the footsteps of Taylor Swift and Beyoncé, Bad Bunny took the stage in custom Schiaparelli by Daniel Roseberry.
As Bad Bunny stood under the spotlights last night, his voice thick with pride for Puerto Rico, he was accepting the Album of the Year trophy for Debí Tirar Más Fotos, he was also completing a divine trilogy. For three consecutive years, the biggest prize in music has been won by an artist clad in custom Schiaparelli. This isn't just a coincidence of styling; it is a sartorial coronation, a golden thread woven by Daniel Roseberry that has draped itself over the most monumental milestones of our era.
The streak began in 2024 with a moment of pure, crystalline triumph. Taylor Swift walked toward the podium to claim her fourth Album of the Year win for Midnights, surpassing every legend who came before her. In her draped white Schiaparelli gown, a silhouette that evoked both a Grecian goddess and a ticking clock, she looked every bit the architect of her own destiny. That dress signaled the start of a new, untouchable era where fashion and legacy became one. It was the night the world realized that when Taylor Swift wears that Schiaparelli gown, history is inevitable.
One year later, the emotion shifted from triumph to a long-overdue reckoning. In 2025, Beyoncé finally took home the Album of the Year trophy for Cowboy Carter, a win that felt like a seismic shift in the cultural landscape. Wrapped in a metallic, paisley-beaded Schiaparelli gown that shimmered like armor, she stood as a symbol of reclamation for Black artists in country music. The gown, featuring a subtle bandana-inspired motif, was more than a red-carpet look; it was a testament to persistence and the breaking of genres.
Last night, the cycle reached a breathtaking crescendo with Bad Bunny. To see Benito in that laced-up corseted velvet tuxedo, his waist cinched in a nod to the feminine power of the archive, was to see the modern face of the American dream. By winning the top prize with a predominantly Spanish-language album, he didn't just win for himself, he won for every Latino child who was once felt insecured.
From Taylor’s record-breaking poise to Beyoncé’s cultural revolution and now Benito’s boundary-shattering pride, Schiaparelli has become the fabric of the impossible. These three years have proven that a custom Schiaparelli creation is the ultimate lucky charm for any Album of the Year nominee.
