Cliff Notes – Hidden references and no trousers – the hits and misses of the Met Gala
- The Met Gala 2025 theme, “Superfine: Tailoring Black Style,” aimed to honour Black Dandyism but faced criticism for a lack of understanding of its historical significance among attendees.
- While some celebrities, like Teyana Taylor and Colman Domingo, embraced the theme with thoughtful outfits, many others opted for less relevant choices, such as leotards, which detracted from the event’s sartorial focus.
Hidden references and no trousers – the hits and misses of the Met Gala
I was standing outside a Tube station last October when the theme for the Met Gala 2025 was announced.
It was one close to my heart, Superfine: Tailoring Black Style and when I found out I was equal parts excited and annoyed.
Excited, because a fairly niche area of fashion history was about to be portrayed on such a big stage; annoyed as this theme meant so much to me and it could so easily be butchered.
After reading Monica Miller’s book Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity several years ago, I’ve been on a deep dive, absorbing myself in the world that is Black Dandyism, and as a designer myself, with a love for tailoring, I waited anxiously to see what would unfold.
Every year, people watch the Met Gala red carpet and pore over the hits and misses of the theme, but to truly honor a subject matter like this, all those involved need to have a strong understanding of the historical and socio-political aspects behind it.
Dandyism originated in late 18th century Britain. A dandy was a person who placed extreme importance on being well dressed, presenting themselves as an intellectual and a dictator of taste.
Beau Brummell is probably the most popular example of a historic dandy; wearing an immaculately fitting and laundered suit, paying close attention to all small details from grooming to perfume.
In some ways Beau Brummell could also be seen as a rebel, rejecting the traditional Regency dress, led by his philosophy: ‘To be truly elegant, one should not be noticed.’
In this sense, playwright Jeremy O. Harris emulated the traditional dandy aesthetic on the Met Gala carpet, perfectly wearing Balmain and a one-of-a-kind ring inspired by a Fabergé egg. It’s all in the details.
Black Dandyism came about during the post-Emancipation period, but reached its peak during the Harlem Renaissance in 1920s -30s New York.
Fueled by the Great Migration, when millions of Black Americans moved from the more overt oppression of the South, Black people relocated to areas such as Harlem.
This period saw a revolution in Black art, music, identity and community. The power and importance of this era is what I wanted to feel was honoured in the theme; as well as strong tailoring choices, a nod to the history of the Black Dandy (A big ask, yes – but a big topic!)
Celebrities like BJ Gray and Tramell Tillman and Keith Powers embodied this feeling of Black Excellence, wearing chic sartorial silhouettes.
Teyana Taylor, in her position as host, was one of the first on the red carpet in a zoot suit-inspired look. The zoot suit was popularised in the 1930s by African Americans as a fashion statement and symbol of resistance.
The large amount of fabric within the trouser allowed for better movement when dancing and was worn and made popular by Cab Calloway among many others.
Teyana gave me hope we would see more women follow her lead, but with the door wide open for female suiting, I think too many missed this opportunity.
That said, some did embrace it, with gorgeous examples of this including Zendaya in a pristine three piece suit by Louis Vuitton, Joey King in an embellished green suit by Miu Miu, and Cardi B, also in Burberry echoing an Oscar Wildian dandy, but overall I was slightly disheartened by the lack of trouser suits on women.
I personally also didn’t care for the amount of celebrities wearing leotards with a theme such as tailoring. To channel Drag Race’s Michelle Visage’s advice: ‘a bodysuit is not a look.’
Notable disappointments for me included Hailey Bieber, Sabrina Carpenter and Doja Cat and Lisa.
The one exception I will make to the lack of suit is Ayo Edebiri wearing Ferragamo by Maximillian. A beautiful ivory dress adorned with sculpted red beading, finished with a leather coat, inspired by her father and her Nigerian heritage.
She may not have been wearing a suit but it was intentional, considered and polished. Three important characteristics that speak to the attitude of a dandy.
I can’t carry on without mentioning both Colman Domingo’s entrance and reveal looks (the man can do no wrong). It was a thoughtful tribute to the late Andre Leon Talley – famous fashion journalist and a lifelong dandy – and then a Valentino suit, clashing checks and polka dots to great effect.
Texture and colour are important aspects when thinking of Black Dandyism. Traditional tailoring sliced with a bold use of colour or pattern.
Domingo did just that and some, while looking perfectly relaxed and in his element.
One of my favourite aspects of the night were the subtle references made through people’s outfits.
Caleb McLaughlin, wearing Dior Men, directly referenced Rihanna’s May 2020 Vogue cover story. British menswear designer Charlie Casely-Hayford paid tribute to Jean-Michel Basquiat’s look at an 1987 Comme Des Garcons homme show.
British actress Jodie Turner-Smith in Burberry also echoes the images of Black equestrian Selika Lazevski in proud top hat and riding coat
Then there was the level of detail: Pharrell Williams wore a fully beaded jacket of 100,000 pearls in a pinstripe pattern; Khaby Lame sported custom Boss, with his waistcoat adorned with pocket watches’ the flash of turquoise as Shaboozey smiled, revealing grills, which perfectly matched the beads of his custom Robert Wun ensemble
These are just some of the people whose looks thrilled and excited me; who I felt truly made some effort and whose teams, if not themselves, actually researched and paid tribute to the theme and to Monica Miller’s incredible book.
The less said about Anne Hathaway, Lorde and Shakira’s looks the better.
These, although well-made, felt lazy in comparison.
However, one thing that must be stated, is that the Met Gala is ultimately a charity event with tickets going for $75K and tables for $350K, which are bought by designers and sponsored by companies, but with this theme extra care and attention needs to be paid.
The daffodils adorning the Met steps were a lovely touch, symbolising new beginnings, rebirth, hope and the promise of positive change – but when looking at some celebrities’ ‘best efforts’, it really felt this symbolism was wasted.
The theme was a brilliant one, the hosts fantastic, in terms of Black designers we saw beautiful pieces from Wales Bonner, Ozwald Boateng, Ahluwalia and Martine Rose but what about Tolu Coker and Labrum London?
Also thinking about invitees, where was RuPaul? And Billy Porter?
Social media was also in uproar this week as Wisdom Kaye announced he had not been invited to the Met this year. I’m sure his seat at the table would certainly not have been wasted.
I would have also loved to have seen artist Yinka Shonibare present. He might not have the same reach of many of the attendees, but anyone who knows his work would agree that he would have been a great addition.
Even thought leaders such as Akala, I would have loved to have seen there.
But I think the Met would need to evolve into something so much bigger than itself to see this calibre of attendee support the institution.
At its core Black Dandyism goes way beyond clothes, and has forever been a symbol of wit, rebellion and resistance.
