To many, the first Monday in May is just like any other day. In the world of fashion, however, this day marks the opening of the Costume Institute’s annual fashion exhibition at the Metropolitan Museum of Art, or the Met Gala. Starting in 1948 as a modest gathering, this event has transformed into one of the world’s most prestigious and extravagant social events, known for its illustrious expressions of artistry and creativity.
This year’s theme was announced as Superfine: Tailoring Black Style, exploring the history and evolution of Black dandyism. Black dandyism has historically served as a tool for Black Americans to express themselves, reasserting agency whilst “tailoring” their own personal narratives. This theme additionally highlights the importance and impact of Black identity on fashion, photography, literature, artistry and so much more. From the Harlem Renaissance to the Black Arts Movement, Black artistry has profoundly and fundamentally altered today’s global narrative. Abe Coumbassa (I) says, “Dandyism is all about taking what we had before in fashion and […] using it as a sense of protest and pride for our culture.” This year’s theme is quite extraordinary, as Black fashion finally takes center stage at one of the most notable events in the world. It pushes representation, diversity and originality in a world that is consistently trying to suppress it.
With any theme, however, comes misinterpretation. This year, a few attendees left viewers disappointed and went completely off-theme. Actress Sydney Sweeney, popularly known for her role in HBO’s Euphoria, arrived in a full-length custom black Miu Miu dress, with detailed fringing and a gold accent flower. Sweeney said in an interview with Vogue that she wanted to pay homage to the retired American actress Kim Novak, even though Novak was a prominent white actress and the theme is meant to highlight Black artistry.
In contrast to Sweeney’s misstep, fashion critics and magazines were quick to label the “worst-dressed” of the night. One was Kendall Jenner, who showed up in an open-chested gray suit jacket and a floor-length tailored skirt. In an article from The Cut, critics state that her attire was “far too simple for the Met Gala.” Jenner, however, highlighted the Black British-Nigerian designer Torishéju Dumi, and was strikingly on theme. Her attire was meant to channel queer Harlem Renaissance icon Gladys Bentley, a “female dandy.”
While some looks were controversial or misunderstood, a few stole the show and made long-lasting impressions. Making her Met Gala debut, Grammy winning artist Doechii, known for her hit songs “Denial is a River” and “Yucky Blucky Fruitcake,” dazzled in a custom Louis Vuitton tuxedo jacket, with matching checkered shorts, a maroon purple bow tie and an imprint of the iconic “LV” logo on her cheek, all while holding a cigar. Doechii consistently blends the lines between gender and fashion with her looks on the carpet as a testament to her creative and artistic vision.
Gaining insight from someone educated on the topic is important to further understand the cultural resonance of this year’s Met Gala theme. Donnell Davis (III) shares, “Black dandyism was such an impactful part of the Met Gala, because […] it’s black people claiming back that they are sophisticated, elegant and more than what they are said to be.” This emphasizes that Superfine is not just an aesthetic theme, but a statement of strength, resilience and legacy. Black fashion has long been about more than appearance; it is about rewriting narratives that history tried to overlook.
What makes this year’s Met theme, Superfine: Tailoring Black Style, such a compelling and meaningful theme is its duality; it honors parts of the past while also pushing fashion forward. It acknowledges the roots of Black tailoring, history and elegance while paving the path for trailblazers who continue to refine and shed light on what Black style looks like today. As this Met Gala becomes a memory for another year, the conversations and interests it sparked will hopefully remain. Not just about who wore what, but about whose stories were told.