Grammys: Janelle Monáe Opts for Toned Down Red Carpet Look in Wake of Fires
At Sunday’s 2025 Grammys at Crypto.com Arena, Janelle Monáe is setting aside her signature black-and-white palette and avant-garde themes in favor of an ensemble that’s equal parts stylish, androgynous and toned down compared to past red-carpet appearances.
That latter decision is undeniably a nod to the L.A. community as it recovers from the devastating impact of the wildfires throughout Los Angeles County. “We pulled things that were more avant-garde, a bit more wacky and out there, but that doesn’t feel like the mindset right now,” Alexandra Mandelkorn, who has worked with Monáe since 2017, tells The Hollywood Reporter. “Janelle and I are always on the same page about things, and we’ve talked about this moment in time and how we’re feeling about it. Doing things extra-large or over the top doesn’t feel right.”
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Instead Monáe is channeling a favorite theme, androgyny, in a menswear-inspired suit by Area, the New York-based label co-designed by Beckett Fogg and Piotrek Panszczyk. From the brand’s Fall/Winter 2024 collection, the navy suit features subtle gold detailing and is oversized with an extended shoulder, though the look still feels relatable, Mandelkorn says. “We had a few different options we were considering, all giving this vibe of cool and powerful, effortless and comfortable, but the moment Janelle tried this on, it felt perfect,” she explains. “She loved the shoulders and the oversized element of it, so it’s not totally out of her wheelhouse.”
A military-inspired captain’s hat is the look’s standout accessory. “It’s giving a little bit of Janet [Jackson], a little bit of Grace Jones, and that’s what really sold Janelle on it,” Mandelkorn says. “She always loves a look with a coordinated accessory, like a hat or gloves.”
Monáe finished the look with chain necklaces and other pieces by Dubai-based Maison H Jewels, a TAG Heuer Carrera Chronograph timepiece customized with a blue leather strap, and platform shoes by Ralph Lauren, which Mandelkorn says were an easy yes. “Jewelry is always a last-minute decision, because it’s about what Janelle is feeling in the moment, but those Ralph Lauren platforms are kind of her go-to. She loves those shoes,” she adds.
If it sounds like Monáe and Mandelkorn enjoy their relationship, the stylist says that’s also an easy yes. “There’s just a language that we both speak, and when you find a client who speaks your language, it makes the job so much more seamless,” she notes. “She can say something, and I can instantly visualize and understand what she wants.”
That was likewise true of the second ensemble Monáe wore at Sunday’s Grammys. Monáe joined Stevie Wonder, Cynthia Erivo, Herbie Hancock and others onstage for a previously announced tribute to Quincy Jones, who died in November. For her performance, Monáe wore a tuxedo that was a mix of elements from several different brands, Mandelkorn says. Monáe performed Michael Jackson’s “Don’t Stop ‘til You Get Enough,” the first track on Off the Wall, the 1979 album produced by Jones that propelled Jackson to solo superstardom and, ultimately, “King of Pop” status.
“Janelle’s tux is a tribute to both Quincy Jones and Michael Jackson, and you’ll see the influence of what Michael wore for “Don’t Stop ‘til You Get Enough,” Mandelkorn confirms. “It’s a mishmash of brands to get the exact silhouette we wanted. But Janelle also has made it her own: Alex crystalized the front of the tux shirt and added details to the socks. And it’s not a fully bedazzled Michael jacket; there’s some sparkle going on, just the right amount.” A surprise at the end of Monáe’s performance also occurred when she ripped open her shirt to reveal a cutoff tank emblazoned with “I [Heart] QJ.”
With that look, Monáe also wore black loafers adorned with red hearts by G.H. Bass, a pair often included with her tour costumes. “They are loved and well-worn and amazing,” Mandelkorn says. “These Bass loafers are a special edition not made anymore, so she’s really attached to them. Janelle finds them extremely comfortable, and when you’re comfortable onstage, it comes through in your performance.”
Perhaps most importantly, the team is confident they’ve hit the right notes for a Grammys night unlike any other. “It feels good to be back in action, but I’m also really excited to see how the community will come together [Sunday night],” Mandelkorn says. “Ultimately this was about Janelle feeling good in what she’s wearing but not feeling like all eyes are going to be on her because what she’s wearing is so out there. This doesn’t feel like the moment for that.”
This story was first published on Feb. 2 at 5:15 p.m.
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