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<\/a> The final look.<\/p>\nThis Bunny doesn\u2019t need the Botox.<\/p>\n
Curated by Andrew Bolton, this year\u2019s exhibit \u201cCostume Art\u201d at the Metropolitan Museum of Art<\/a> seeks to \u201cexplore the relationship between clothing and the body beneath.\u201d The theme is heralded annually on the first Monday of May with the Met Gala, known as fashion\u2019s biggest night.<\/p>\n The assignment this year for Bad Bunny and his fellow attendees, which included Beyonc\u00e9, Nicole Kidman, Lauren S\u00e1nchez Bezos, Rihanna and A$AP Rocky, Venus and Serena Williams, and Katy Perry, among others. To interpret the dress code \u201cFashion is Art\u201d<\/a> and to reflect upon the how the human body is represented throughout the exhibit\u2019s near-400 pieces of art \u2013 sculptures, paintings and more, including garments and accessories. The exhibit is organized into three groups: bodies omnipresent in art (such as the nude form), universal bodies (such as anatomical representations), and bodies misrepresented or overlooked (such as those who are pregnant, aging, or disabled).<\/p>\n The latter proved particularly resonant for the six-time, 32-year-old Grammy Award winner who appeared at the 2026 Met Gala as a man 50 years older.<\/p>\n Sporting hyper-realistic prosthetics created by Academy Award-nominated makeup artist Mike Marino<\/a>, Benito Antonio Mart\u00ednez Ocasio<\/a> embraced a fully detailed concept that highlighted a weathered countenance, age spots, and the overall passage of time across his face, neck and hands. He sported silver coils and used a cane on the red carpet while walking gingerly, committing fully to the older personaje he had conjured himself.<\/p>\n According to a statement released by his management team moments after his red-carpet arrival, the artist arrived \u201cnot in costume but in concept\u201d and \u201c[used] his platform at one of the world\u2019s most watched cultural moments to confront time and identity on his own terms.\u201d<\/p>\n The artist designed his own all-black tuxedo suit and turned to Spanish retailer Zara, who created his Super Bowl wardrobe, to bring the look to life.<\/p>\n \u201cThe timeless silhouette is intentional: the suit doesn\u2019t age, he does,\u201d stated the release.<\/p>\n The \u2018fit also featured a significant detail in its black shirt with an oversized sculptural bow, a deliberate nod to the iconic Charles James 1947 \u201cBustle,\u201d which is held in the permanent collection of the Metropolitan Museum\u2019s Costume Institute.<\/p>\n The artist opted for Cartier jewelry, which included an archival 1995 watch, released a year after \u201cel ni\u00f1o de Lysi\u201d was born.<\/p>\n \u201cThe result is not theatrical,\u201d offered the release. \u201cIt is a genuine, considered reflection on what aging looks like and what it means.\u201d<\/p>\n The Metropolitan Museum of Art\u2019s \u201cCostume Art\u201d exhibit opens May 10th and runs through January 10, 2027. For more, visit https:\/\/www.metmuseum.org<\/a>.<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n<\/a> The artist designed his own all-black tuxedo suit.<\/p>\n<\/a> Prosthetics were highly detailed.<\/p>\n<\/a> The model included perfectly styled hair.<\/p>\n<\/a> The artist sought to \u201cconfront time and identity on his own terms.\u201d<\/p>\n<\/a> En chanclas.<\/p>\n<\/a> Details included a 1995 archival Cartier watch and a gold-tipped cane.<\/a> Academy Award-nominated makeup artist Mike Marino (right) at work.<\/p>\n<\/a> The all-black shirt featured an oversized sculptural bow.