Bad Bunny shook up the Met Gala with yet another memorable look when he dressed up as an abuelo. He showed up in intricate, aged makeup, courtesy of Mike Merino, and made a lot of noise with his literal interpretation of the Costume Institute exhibition’s “Aging Body” theme. But the Puerto Rican superstar also used his Met Gala moment to debut something new: a logo of his birth name, Benito Antonio.
As eagle-eyed fans spotted, press pictures of Benito’s glam sesh for the Met Gala show the star sitting in a director’s chair with “Benito Antonio” in a bubbly font logo printed across the back. A similar font was used for the tag of his custom all-black tuxedo suit Zara, too.
Bad Bunny is currently in the process of filing a trademark on Benito Antonio. Records reviewed by Rolling Stone show that Benito Antonio Martínez Ocasio, who is also identified as “AKA Bad Bunny” in the filings, filed to trademark “Benito Antonio” in January 2026. It doesn’t appear that the trademark has been finalized quite yet, but the move feels aligned with the new logo.
Eric Rojas*So, what could this all mean exactly? Some fans think that this could mean a new chapter, with Bad Bunny retiring his moniker and performing under his birth name. Meanwhile, other fans are convinced that the new logo signals a new musical era.
Representatives for Bad Bunny did not immediately return Rolling Stone’s request for comment.
Benito himself hasn’t confirmed anything, so these fan theories could pan out — or be totally baseless. But details from the trademark filing signify that the musician may be taking an entrepreneurial step into the fashion industry with his own clothing brand. The trademark application was filed under a clothing class and “ties as clothing; belts for clothing; belts of leather for clothing,” were listed as the items the trademark was intended to use. Sure, Bad Bunny could be plotting a merch drop related to his current Debí Tirar Más Fotos world tour, but the items listed aren’t typical apparel, like a t-shirt or baseball hat.
The musician has worked with fashion brands in the past, most recently Zara. The Spanish retailer designed his outfit for his historic Super Bowl halftime show performance, which featured a symbolic cream jersey that read “OCASIO” on the back and “64” on the front. Bad Bunny revealed that the jersey was a tribute to his late uncle Cutito, who was born in 1964. Did Benito create his own fashion line, specifically one named after his given name in a nod to his heritage? It’s certainly sounds like something up his alley, and could be the perfect way to keep honoring his Puerto Rican roots. For now, we’ll have to wait and see.
Elliott Smith in 2003.
Why Is Everyone So Mad at Supreme’s Elliott Smith Collaboration?
Earlier this week, Supreme announced an Elliott Smith capsule collection, including a selection of jackets and T-shirts featuring artwork from across the late musician’s career, from his self-titled 1995 album to his seminal 1997 album Either/Or to 1998’s XO and 2000’s Figure 8.
The internet seems to be in a huff over this, relying on a view of Supreme and streetwear frozen in 2008 that was, even then, embarrassingly myopic. The line of thinking goes that Supreme, the brand that was founded in New York in 1994 by designer James Jebbia and that has been a staple in skate and streetwear culture ever since, is an inauthentic purveyor of the ethos represented by Smith and his music. One might cite the brand’s roughly $500 million investment from the Carlyle Group in 2017 or its association with high fashion as disqualifying characteristics. More than anything, there seems to be a sense that taking shots at a nearly 40-year-old streetwear institution is a way to prove one’s unsullied dedication to a sense of anti-consumerism. The anger is misplaced.
In a culture awash in goofy collaborations and corporate cash grabs, Supreme might be one of the few brands still operating from an actual set of beliefs. Its Elliott Smith capsule (which was made with permission from Smith’s estate) is in a long line of collaborations that Supreme has done with musicians. Its first artist collaborator was Rammellzee, the experimental rapper and visual artist whose relationship with the brand dates to 1994, the year Supreme opened. By 2005, Raekwon was posing with a Tickle Me Elmo for the first of Supreme’s commissioned portrait T-shirts. Across its music collaborations, portrait tees, and tributes, the list includes everyone from Michael Jackson to the Velvet Underground, Nirvana, Butthole Surfers, My Bloody Valentine, Daniel Johnston, Aphex Twin, and SALEM.
There have been collections with record labels like Stax, Wackies, Rap-A-Lot, Ruff Ryders, Jah Life, and Duck Down, the last of which put Black Moon and Smif-N-Wessun’s album artwork on clothes. There are shirts and shoes with Peter Saville’s artwork for Joy Division and New Order. The Smith collaboration is so patently in the wheelhouse of what the brand has done for decades that bringing it up now as some sort of “gotcha!” feels more like a product of social media’s tilt towards rage-bait than any defense of an artist.
Elliott Smith, who died in 2003 at 34, has long been a part of skate culture. He was friends with Mike Mills, the skateboarder and filmmaker who designed graphics for Stereo and one of Supreme’s early logos. Mills worked on unused cover art for Figure 8 and later enlisted Smith to record music for his film Thumbsucker. And Smith’s music has been celebrated in the world of skateboarding for many years now. Mark Baines skated to “Happiness” in Blueprint’s Waiting for the World in 2000. Nate Broussard used “A Distorted Reality Is Now a Necessity to Be Free” in Static III in 2007. Dylan Rieder skated to “Coast to Coast” in Alien Workshop’s Mind Field in 2009, and Mark Suciu used “Junk Bond Trader” in Cross Continental in 2012.
Arguing that he would have hated the collaboration, aside from being infantilizing, completely ignores the actual culture around Elliott Smith when he was alive, instead opting for some abstract representation of a person who actually existed in the real world — a particularly Gen Z problem, to be frank.
With these collaborations, estates and relevant parties are always compensated. And that actually matters in an era where an artist can remain a staple for young people for generations, long after they’ve died, while reaping diminishing returns thanks to the paltry payouts from streamers. Meaning, short of throwing him onstage as a hologram or doling out money-grabbing box sets, a tasteful collection with a brand with a real connection to his work is actually one of the better options that exists.
People who want to be mad at Supreme want to separate themselves from some sort of mainstream idea of cool. They want to believe that they have an authenticity that Supreme doesn’t. Sorry to say, the reverse is more likely true. Just last week, Business of Fashion published a report on the brand’s cultural durability. “Supreme isn’t cool anymore” is, in fact, a very uncool thing to say in 2026. And beyond that, the people inside the company are coming from an ethos that has remained steadfast in actually supporting youth culture.
To sit on the outside now and pretend that you’re such an authentic Elliott Smith fan that you’re upset by this is simply to expose how out of touch you are.