The 2025 Grammy Awards were filled with fashion statements, such as Charli XCX’s grey
corseted dress, straight from the Jean Paul Gaultier Spring/Summer 2025 couture collection and Beyoncé’s
custom glittering gold Schiaparelli gown and opera gloves designed by Daniel Roseberry.
However, none quite sparked as much controversy as Bianca Censori’s daring and controversial
red-carpet look.
Censori first appeared wrapped in an oversized fur coat— surprising, considering
her reputation for her revealing and unique outfits, yet she quickly owned this reputation when she
stripped off the coat to reveal the so-called ‘naked dress’, contrasting her husband Ye (Kanye
West) dressed from head to toe in an all-black look. At first glance, her transparent mini-dress
appeared as a nod to avant-garde fashion; however, the conversation quickly turned toward the
implications of what she was wearing and what it represented in terms of broader societal issues, such as
misogyny and objectification.
The Dress: The Art of Shock or Empowerment?
Censori’s dress, or perhaps more fittingly, her lack of one, was the epitome of shock value. The
model was seen stepping onto the red carpet in a dress that, to the untrained eye, seemed
invisible. The gown, designed by her husband’s brand Yeezy, was crafted from a series of
strategically placed sheer panels and minimalistic fabric swirls, designed to appear as though the
wearer were nude. It raised eyebrows for all the right and wrong reasons, and almost instantly,
the social media sphere was ablaze with polarized reactions.
On the one hand, Censori’s ensemble could be seen as an artistic statement—a bold challenge to
the fashion world’s expectations of modesty and elegance. Her attire could have been an
embodiment of modern feminism, a form of empowerment through reclaiming one’s own body,
defying the constraints of what it means to dress “appropriately.” Many believed the dress
pushed boundaries and signified the rejection of traditional beauty standards, signalling a new era
where women could define their own narratives without societal limitations.
Others viewed the invisible dress as something far more concerning. The very act of wearing so
little on a public stage, especially the Grammys, a symbol of glamour and prestige, struck many
as a reflection of the ways in which women’s bodies are often commodified and reduced to
objects of visual consumption. Was the dress, intentionally or not, reinforcing the harmful
stereotype that women’s worth lies in their physical appearance? Or, more disturbingly, was it
yet another example of the music and fashion industries pushing the boundaries of women’s
bodies to achieve mass shock value?
The Misogynistic Lens: Are We Still Viewing Women Through a Male Gaze?
A deeper dive into the implications of the dress raises uncomfortable questions about the male gaze and the
commercialization of women’s bodies. In an industry where women, particularly those in the
spotlight, have long been subjected to scrutiny and objectification, Censori’s outfit seemed like a
continuation of a pattern: the sexualization of women for the sake of “art.” This wasn’t just any
red carpet—it was the Grammys, an event where music, style, and culture collide, but which
has also, been criticized for promoting unrealistic beauty standards and perpetuating gender
inequalities. Could Censori’s look be a deliberate commentary on the way women’s bodies are
sold and consumed by the public?
To some critics, the dress was no more than another form of the misogynistic tradition of
commodifying female figures, selling them as “art” for mass consumption. The fashion industry,
often accused of valuing a woman’s image above her talents or contributions, only intensifies
this narrative when public figures are encouraged—or perhaps pressured—to use their bodies
as marketing tools. In this context, Censori’s ensemble can be seen as an unfortunate
reinforcement of the notion that women’s bodies are spectacle and not to be taken seriously
outside of their sexualized presentation.
A Feminist statement or exploitation?
As is often the case with bold fashion statements, the intention behind the outfit remains
ambiguous. Was Bianca Censori making a feminist statement—one that calls for the liberation
of women’s bodies from traditional norms—or was she simply playing into the same tired trope
of using nudity to create controversy and garner attention? The answer is one we are likely to never
know, as Censori has no voice. She does not give interviews or speak to the media. Her only
form of communication is her body. The fact that she frequently appears like a deer in
headlights, her eyes wide and empty, provokes assumptions about her lack of autonomy in the
choice to wear such daring outfits. Ye’s reputation for controlling behaviour merely exacerbates
these assumptions.
There is a fine line between empowerment and exploitation, and Censori’s outfit toes that line
precariously. In a world where women are constantly told how to dress, how to behave, and how
to present themselves, the choice to wear something that defies the norm could certainly be seen
as a subversive act. But it is also important to ask whether it is truly empowering for women to
be reduced to a visual spectacle—one that only gets attention because of its shock value.
Perhaps the most important question, then, is whether women like Censori are being given the
agency to make these decisions independently, or if they are being pushed into these positions by
an industry that thrives on the hyper-sexualization of female celebrities. While she may have
intended to make a statement, the lasting impact may not be one of empowerment but rather a
reminder that, in many ways, women’s bodies continue to be at the mercy of how society
chooses to view them.
Regardless of who orchestrates these stunts or what their purpose is (beyond mere attention
seeking), they are undoubtedly gendered. It is Censori’s body on display; Ye’s body remains
concealed beneath layers of oversized black garments.
Conclusion: A Conversation Beyond Fashion
The controversy surrounding Bianca Censori’s naked Grammy dress is more than just about
fashion—it’s about the broader conversation on how women’s bodies are represented,
consumed, and ultimately controlled within our culture. Whether it was a brave act of defiance or
a troubling product of a misogynistic industry, one thing is certain: the dress sparked a discussion
that demands us to reflect on our own views of gender, sexuality, and the power of public figures
to control their own narratives.
In the end, Censori’s look was more than just a “dress”; it was a mirror reflecting the
complicated ways in which women, especially in the public eye, continue to be shaped by
societal expectations. Whether or not we choose to see it as a feminist statement or a disturbing
reminder of entrenched gender dynamics, it’s a conversation that will likely linger long after the
buzz of the Grammys fades away.