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“Fifty-three years.” That’s how long Bad Bunny joked his old-age transformation took for the 2026 Met Gala. In reality, says his prosthetics designer Mike Marino, the day-of process took three hours—plus a half-hour of makeup removal at the end of the night (micellar water, in this instance, would not cut it). Then there were the six weeks of prep: the scanning, designing, sculpting, and sewing until the multiple, hyperrealistic prosthetic pieces were complete.

Never one to follow the crowd, Benito Antonio Martínez Ocasio chose to tap into a section of the Costume Art exhibition that focused on bodies often overlooked in fashion and art, including pregnant and aging figures. Committed to exploring aging as an art, the singer’s team reached out to Marino, whose award-winning prosthetic designs you can spot in films like The Batman and The Irishman, and series like The Penguin and True Detective, not to mention Heidi Klum every Halloween since 2011.

Eric Rojas

Marino is no stranger to aging people (The Weeknd for his Dawn FM cover, for example) or transforming them completely (hours before he began working on Bad Bunny on Monday night, he was morphing Klum into a marble statue). But for the singer’s Met Gala appearance, Marino felt he needed a more realistic, almost regal approach to a travel through time. “The fact that he's distinguished and well-groomed is on purpose,” says Marino, who thought making Bad Bunny look weary and hunched would not have felt right for fashion’s most glamorous night of the year.

Marino was also continuing a long tradition in art history of presenting idealized representations of people and the human body. “If you think about famous portrait painters like [John Singer] Sargent and [Diego] Velázquez, they were often painting an idealized image of the subject, manipulating how they look to make them look more beautiful, or more colorful, more powerful in that portrait,” he says, referencing Velázquez’s painting of King Philip IV and the many propaganda paintings of Napoleon I. “I thought it was cool that, with his grooming, [Bad Bunny] had this distinguished look that was as if a Velázquez or Sargent portrait came to life."

Eric Rojas

For ideas on how to most realistically age the singer, Marino looked at octogenarian Puerto Ricans, as well as the singer's facial structure and skin texture. Turns out, designing prosthetics requires the same understanding of facial structure as a plastic surgeon. However, instead of minimizing the signs of aging, they enhance them. “I look at how he might age—that's how I approach makeup,” Marino says of his process. “I look at signals. For instance, I might see a little line [on the face] and then exploit that line, or I think, Maybe this eye bag will develop this way if he maintains his healthy lifestyle. I’m like someone’s worst nightmare,” he says, laughing.

Creating Bad Bunny's prosthetics—including a piece for the neck, cheeks and eye bags, forehead and eyelids, as well as earlobes and hands—was a multistep process that started with Marino taking skin color samples and a 3D-laser scan of his face and head. Those digital scans were then used to create a 3D-printed model of the singer’s head onto which Marino sculpted clay into the shapes that he wanted. “I sculpt every line, every crease, every pore into the clay and that’s what you’ll see on the prosthetics,” Marino explains.

“I might see a little line and then exploit that line or think, Maybe this eye bag will develop this way. I’m like someone’s worst nightmare.”

The next steps are a little complicated, but those miniature clay sculptures are then used to create molds and eventually cast pieces out of supersoft, superthin silicone, which are the prosthetics that get glued onto the face. “Because Benito had never worn prosthetics before, the pieces were very thin,” explains Marino. “I thought it would probably be easier if they were very soft, thin pieces so that you could still feel somewhat normal [wearing them].”

Eric Rojas

Once the silicone prosthetic pieces were cast, Marino then airbrushed every little freckle, pore, blood vessel, dark circle, and liver spot he wanted to age the skin. For Bad Bunny's hands, he used the airbrush machine to accentuate the tendons and veins and knuckles, “maybe to look a little more arthritic,” he says. (We're very confident in saying this is the first time a red-carpet makeup artist has tried to make a client look “more arthritic.”)

Eric Rojas

Also key to Old Bunny’s look were his stark white curls, brows, mustache, and beard, all of which had to be hand-knotted onto fine lace nets, a process that took Marino and his team—which included wigmaker Diana Choi and hairstylist Carla Farmer—weeks to complete. When it came to the wig, Marino mimicked the texture and pattern of Bad Bunny’s hair exactly, just in a white-gray color. “We took 360-degree photographs from above and below to determine his hair texture and pattern, and then made a white-haired version of that so that once his bald cap was on, it went right on top," Marino says of the process. “And he had eyebrows, too.”

“There’s a beauty to aging, and Benito put that on display… ‘This is what it will be like, and see how good I look.’”

Getting Bad Bunny ready on the day started with flattening down his hair and slipping on a bald cap, followed by gluing the prosthetics with a strong, medical-grade adhesive. “Every centimeter of it was glued on, so when he moved, the pieces moved with him,” says Marino. On top of that, Marino glued down the brows, beard pieces, and mustache, followed by the wig.

Eric Rojas

Marino’s work elicited a massive—and very positive—response the minute Bad Bunny stepped onto the Met Gala steps. And it was not lost on Allure contributor Valerie Monroe that when it comes to actual old people, society is not nearly as kind or accepting. “I think it’s fun that Bad Bunny showed up in an old-age costume… but I’d love for him to keep his costume on for a week, so I could watch his response to the inevitable ageism, the slights small and large, likely to confound him as he traveled in his older (young) body,” she wrote in an op-ed this week. “The most fun thing about his costume? He can take it off.”

That hypocrisy isn’t lost on Marino, who notes the pressures on people—especially people in Hollywood—to keep looking as young as possible. “It’s hard for a celebrity to look in the mirror and see flaws, because in today’s world, that’s exploited and [certain types of media] can be mean-spirited and write articles showing them at their worst.” That's why he found his work with Bad Bunny at this year’s Met Gala so meaningful. “There’s a beauty to aging, and Benito put that on display. He was trying to show people, ‘This is what it will be like, and see how good I look.’ And I think that’s a very cool thing.”