Dear Reader, I’ve been going to the Met Gala for over five decades and I’m often asked ‘Is it better or do you miss the old days?’ Without hestation, I say, ‘What worked in the 70’s, 90’s and beyond wouldn’t work today.’ The Party of the Year has evolved and kept up with the times. It’s relevant, it’s au courant and it’s still avante-garde. So the answer is unequivocally  ‘It’s better than ever,’ and let’s 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 “Superfine: Tailoring Black Style”. Bravo! Who else would tell you these things?

Superfine: Tailoring Black Style

The Costume Institute’s 2025 exhibition, “Superfine: Tailoring Black Style”, is a historical examination of the Black Dandy, displaying the figure’s 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’est-ce pas?

Monica L. Miller’s Slaves to Fashion

Inspired by Monica L. Miller’s 2009 book, “Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity”, 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.

Andrew Bolton – Curator in Charge

Fashion becomes a story of resistance, identity, and imagination in the Met’s 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. “Black dandyism is a concept that’s just as much an idea as an identity. ‘Superfine’ 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 “In America: An Anthology of Fashion”, 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.”                      

André Leon Talley

Bolton also reflected on the monumental figures whose legacies helped shape the groundbreaking exhibition – namely, André Leon Talley. “As befitting such a respected and much-loved figure in fashion, André’s 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 ‘his regal headpieces’. 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.” The Guardian’s comment prompted me to think about what happens to the figure of the dandy when he’s racialized.” 

Max Hollein  – Director of The Met

At the preview of the show Max Hollein drew attention to the true mission of the mythologized event: exposing all people to creativity,  knowledge, and ideas. “The Met Gala is many things. It’s an outstanding event, it’s a great celebration, it’s 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, ‘Superfine’ 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.”

Monica L. Miller, Guest Curator

Monica Miller’s book, “Slaves to Fashion: Black Dandies and the Styling of Diasporic Identity,” sparked the idea for this year’s exhibition. She outlines the historical background of Dandyism. “Dandies 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.”

The Party

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’s honorary chair was LeBron James. The decor was guided by Cy Gavin, who served as the Creative Director for the night’s blue carpet. Gavin’s painting, “Untitled (Sky)” was also the inspiration for this year’s centerpieces and was  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’s special performance, dazzling the crowd with hits such as “U Don’t Have to Call,” “OMG,”  and “Yeah!”. It’s the only way really! The exhibition runs through October 26, 2025. metmuseum.org