{"id":18520,"date":"2025-05-12T17:22:49","date_gmt":"2025-05-12T17:22:49","guid":{"rendered":"https:\/\/rcourihay.com\/?p=18520"},"modified":"2026-03-15T15:08:42","modified_gmt":"2026-03-15T15:08:42","slug":"met-gala-2025","status":"publish","type":"post","link":"https:\/\/rcourihay.com\/staging\/blog\/met-gala-2025\/","title":{"rendered":"A Fine & Dandy Party of The Year: Met Gala 2025"},"content":{"rendered":"

A Fine & Dandy Met Gala\u00a0<\/span><\/b><\/h2>\n
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Madonna<\/figcaption><\/figure>\n
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Nick & Priyanka Jonas<\/figcaption><\/figure>\n
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Demi Moore<\/figcaption><\/figure>\n
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Janelle Monae<\/figcaption><\/figure>\n
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Gigi Hadid<\/figcaption><\/figure>\n
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Cardi B<\/figcaption><\/figure>\n

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Dear Reader, I\u2019ve been going to the Met Gala for over five decades and I\u2019m often asked \u2018Is it better or do you miss the old days?\u2019<\/i> Without hestation, I say, \u2018What worked in the 70\u2019s, 90\u2019s and beyond wouldn\u2019t work today.\u2019<\/i> The Party of the Year has evolved and kept up with the times. It\u2019s relevant, it\u2019s au courant and it\u2019s still avante-garde. So the answer is unequivocally\u00a0 <\/span>\u2018It\u2019s better than ever,\u2019 <\/i>and let\u2019s not forget that this benefit raised a record-breaking, and very cool, 31 million dollars. In the end, that’s what allows the Costume Institute to present groundbreaking shows like \u201cSuperfine: Tailoring Black Style\u201d. <\/i>Bravo! Who else would tell you these things?<\/p>\n

Superfine: Tailoring Black Style<\/b><\/h3>\n

The Costume Institute\u2019s 2025 exhibition, \u201cSuperfine: Tailoring Black Style<\/a>\u201d<\/i>, is a historical examination of the Black Dandy, displaying the figure\u2019s emergence in the 18th century to 21st-century incarnations in the cosmopolitan cities of London, New York, and Paris. Dandyism, originally imposed on Black men in the 18th-century as a response to an increasingly consumerist society, evolved into an opportunity to employ not only clothing but also gesture, irony, and wit to transform their given identities and embody new social possibilities. N\u2019est-ce pas?<\/p>\n

Monica L. Miller\u2019s Slaves to Fashion<\/b><\/h3>\n

Inspired by Monica L. Miller\u2019s 2009 book, \u201cSlaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity\u201d<\/i>, the exhibition tells the often neglected stories of stylish Black individuals across art, literature, music, and society. The show is organized around a series of characteristics, such as ownership, presence, ease, and cosmopolitan-ism, and is exemplified through a range of media, such as garments and accessories, drawings and prints, and paintings, photographs, and film excerpts. Taken together, these narratives offer a history and description of Black dandyism as a discrete phenomenon that reflects broader issues of power and race relations in the Black diaspora.<\/p>\n

Andrew Bolton \u2013 Curator in Charge<\/b><\/h3>\n

Fashion becomes a story of resistance, identity, and imagination in the Met\u2019s latest exhibition. Andrew Bolton, Curator in Charge of the Costume Institute, described how the show explores Black dandyism not just as an aesthetic, but as a political phenomenon. \u201c\u200b\u200bBlack dandyism is a concept that’s just as much an idea as an identity. \u2018Superfine\u2019 is a visualization and extension of Monica Miller’s groundbreaking book, exploring the origins and multiple meanings of Black dandyism in the Atlantic diaspora. Although several of our recent shows have addressed issues of race and identity, such as \u201cIn America: An Anthology of Fashion\u201d, this is our first show that is directly addressing the impact of race on sartorial style. For this reason, it was important that the exhibition be authentic to the department by reflecting the scope of our collection.\u201d \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/span><\/p>\n

Andr\u00e9 Leon Talley<\/b><\/h3>\n

Bolton also reflected on the monumental figures whose legacies helped shape the groundbreaking exhibition \u2013 namely, Andr\u00e9 Leon Talley. \u201cAs befitting such a respected and much-loved figure in fashion, Andr\u00e9\u2019s death was widely covered in the press, with many of his obituaries calling attention to his theatrical self-presentation; his penchant for wearing capes, kaftans, and what the New York Times called \u2018his regal headpieces\u2019. But the obituary published in The Guardian went one step further, describing Andre as “a true dandy, like those in the novels of Balzac and Baudelaire.\u201d The Guardian’s comment prompted me to think about what happens to the figure of the dandy when he’s racialized.\u201d\u00a0<\/span><\/p>\n

Max Hollein\u00a0 <\/span>\u2013 Director of The Met<\/b><\/h3>\n

At the preview of the show Max Hollein drew attention to the true mission of the mythologized event: exposing all people to creativity,\u00a0 <\/span>knowledge, and ideas. \u201cThe Met Gala is many things. It\u2019s an outstanding event, it\u2019s a great celebration, it\u2019s a moment for our community to come together. It is also an outstanding fundraiser for the museum, which enables the Costume Institute to take care of all it should do, to take care of its collection of more than 30,000 items. To publish scholarly catalogs. To acquire new work. To diversify its collection so that it can help expand the stories that we tell and that we should tell. And of course, it is for producing innovative, compelling, groundbreaking exhibitions, like, I hope you will agree, \u2018Superfine\u2019 is. The significance of this exhibition is undoubtedly amplified in today’s world. And our hope is that Superfine will inspire thoughtful dialogue and deep understandings of the powerful histories told throughout the galleries and the accompanying catalog. And recognize extraordinary, powerful voices, designers, artists, with their many important contributions. I’m excited to announce to you all that this evening’s Gala has raised a record-breaking $31 million.\u201d<\/p>\n

Monica L. Miller, Guest Curator<\/b><\/h3>\n

Monica Miller\u2019s book, \u201cSlaves to Fashion: Black Dandies and the Styling of Diasporic Identity,\u201d <\/i>sparked the idea for this year\u2019s exhibition. She outlines the historical background of Dandyism. \u201cDandies designed their ways of being in the world. Beginning in the 18th century and as a result of the slave trade, colonialism and imperialism, African and Western traditions of dress and distinction met. Just as soon as enslaved Africans were dandified as servants and transformed into objects of conspicuous consumption, they similarly employed the power of clothing, dress, fashion, and accessories to challenge its representation and reimagine themselves. Their dandyism manifested a necessary and pointed understanding of the relationship between clothing, race, and power. Dandies are historically men and increasingly people who practice precision and intentionality in their dress, whether that dress is sober or spectacular. A well-tailored suit with all of the attendant accessories is a touchstone of the dandy’s closet and is the focus around where Superfine is designed.\u201d<\/p>\n

The Party<\/b><\/h3>\n

After climbing the iconic steps, guests were greeted by thousands of narcissus flowers and the co-chairs of the evening, Pharrell Williams, A$AP Rocky, Lewis Hamilton ,Colman Domingo, and Anna Wintour, who has helmed the gala since 1999. The Gala\u2019s honorary chair was LeBron James. The decor was guided by Cy Gavin, who served as the Creative Director for the night\u2019s blue carpet. Gavin\u2019s painting, \u201cUntitled (Sky)\u201d was also the inspiration for this year\u2019s centerpieces and was\u00a0 <\/span>also projected onto the ceiling of the Temple of Dendur during the dinner portion of the evening. Chef Kwame Onwuachi curated the menu for the evening, featuring dishes such as creole roasted chicken, mini chopped cheeses, cornbread topped with caviar, and curry chicken patties. Usher and Stevie Wonder took to the stage for this year\u2019s special performance, dazzling the crowd with hits such as “U Don\u2019t Have to Call,” “OMG,”\u00a0 <\/span>and “Yeah!”. It\u2019s the only way really! The exhibition runs through October 26, 2025<\/span>. <\/b>metmuseum.org<\/b><\/span><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

A Fine & Dandy Met Gala\u00a0                 Dear Reader, I\u2019ve been going to the Met Gala for […]<\/p>\n","protected":false},"author":2,"featured_media":18473,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2002,1993,1921],"tags":[403,401,402,750,406,710,751],"class_list":["post-18520","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-couris-columns","category-entertainment","category-trending-stories","tag-anna-wintour","tag-met-gala","tag-met-gala-2025","tag-met-gala-theme-2025","tag-party-of-the-year","tag-superfine","tag-vogue-magazine"],"acf":{"full_width":false,"header_transparent":false,"header_white":false},"yoast_head":"\nA Fine & Dandy Party of The Year: Met Gala 2025 - R. 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