“It’s givin’ bad bitch/ Never ever play me like I’m average,” raps Atlanta’s newest “it girl” Latto. This Sunday at the 2022 American Music Awards, the 23-year-old rapper proved exactly how noteworthy her burgeoning career is, and she wore custom Dilara Findikoglu — one of the hottest designers of the year — to match.

To be fair, the “Big Energy” artist has been proving this since she was eight years old. At 10, she was already in the studio, and by 16 she had won The Rap Game, a reality TV series where aspiring rappers compete for a record contract with So So Def. Now, at 23 years old, she’s just attended her first AMAs where she had the honor of presenting Favorite Afrobeats Artist and was nominated for three categories: New Artist, Song Rap/Hip-hop and Rap/Hip-hop Female Artist. While Latto came out of the night empty-handed, she has more importantly established her iconic placement in the music industry — and as someone to watch in the fashion world, too.

The gothic sexuality of Dilara Findikoglu’s designs paired exquisitely with Latto’s confident and coquettish demeanor. Styled by Sam Woolf, Latto arrived on the red carpet in her first Dilara look of the night: an all-black corseted lingerie number, featuring a halter-neck bodysuit with lacing up the bodice and a mesh overlay veiled over her head and down her legs. The textured-tulle BDSM vibe was brightened with a bright red lip and Egyptian cat eyeliner.

“Are you freezing?” asks the Billboard Red Carpet interviewer. “My nerves be so bad no matter what I got on... I don’t even got nothing on and I’m still hot!” exclaims Latto. “I am too blessed to be stressed!” she adds. This seems to be her motto of the night.

Latto’s stage look, a stringy dusky-rose gown, contrasted the severity of the first look with soft ripples and delicate sheer layers that evoked a ghoulish jellyfish vibe. The Turkish-British fashion designer’s devilish and ethereal designs are show-stopping creations heralded by the likes of Bella Hadid, Lady Gaga, Madonna and FKA Twigs.

Photos by Jacob Webster

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