Every year, the Met Gala is a dazzling ode to fashion, art, and culture, but 2025 was different. It wasn’t just another glamorous evening in the Untitled Sky of the Metropolitan Museum of Art. It was a cultural milestone. The theme, “Superfine: Tailoring Black Style,” was a sweeping tribute to Black fashion, identity, and the enduring legacy of Black dandyism. This wasn’t just fashion for fashion’s sake but heritage, defiance, and elegance in motion.
Black Elegance on Center Stage
Inspired by Monica L. Miller’s influential book Slaves to Fashion, this year’s exhibit broke boundaries. For the first time in 22 years, the focus was solely on menswear, but not just any menswear. This was Black suiting reimagined through a dozen themes: Ownership, Look, Disguise, Freedom, Presence, Cosmopolitanism, and more. Each room in the exhibition felt like a different heartbeat of the diaspora.
The accompanying dress code, “Tailored for You,” wasn’t just about custom fits; it was an invitation to bring your full, unfiltered self. To wear a story. As co-chair Pharrell Williams put it: “You throw it on Sunday after working all week.” And that was the spirit. Effortless cool born from effort. Faith meets finesse. Joy meets struggle.
Inside the World of the Black Dandy
So what is Black Dandyism, really?
Think velvet blazers, ornate brooches, and wide-brimmed hats. Think of walking into a room like it owes you a round of applause. At its heart, it’s about style that says: I see your rules and I’ll raise you some silk brocade and a killer hat.
Inspired by icons including British dandy Beau Brummell, who once said, “Don’t talk about your clothes, let your clothes do the talking,” the Black Dandy is intentional.
A Night of African Creatives
What made this year’s Met Gala particularly noteworthy was the undeniable presence of African designers and artists.
Patience Torlowei, the Nigerian designer known for storytelling through textiles, brought a gown that shimmered with tradition and avant-garde flair. Ozwald Boateng, Ghanaian-British tailoring legend, proved once again that heritage and haute couture go hand in hand. Agbobly, the Togo-born innovator, married West African weaving with modern silhouettes. From Iké Udé to Paradis of Côte d’Ivoire, African fashion wasn’t just included; it was central.
And the stars? They wore the continent with pride.
Tyla, South Africa’s breakout star, floated down the carpet in a structured white Jacquemus gown styled by the iconic Law Roach. Minimalism, meet majesty. Tems wore Ankara like armor, while Burna Boy, styled in a bespoke look by Ozwald Boateng, redefined red carpet suiting with cultural fire.
One of the most striking looks came from Brian Tyree Henry, who appeared in a maroon suit with a regal brocade cape by Orange Culture, the Nigerian label known for gender-fluid tailoring. His walk? A love letter to Black royalty.
Savannah James stunned in a striped corset and fishtail skirt by Hanifa, a silhouette that echoed tradition and power. And then came Diana Ross, styled in bold by Ugo Mozie, proving that the legends never miss. It wasn’t just a red carpet; it was a parade of pride.
The Details Were the Drama
Because sometimes, it’s not just what you wear, it’s how.
Khaby Lame wore time like jewelry, a waistcoat dotted with vintage watch faces, stitched by BOSS, styled by Ugo Mozie. Every tick was tailored.
Ayo Edebiri showed up in coral power. Her Ferragamo look fused Edo royalty with downtown edge — beaded, belted, unforgettable.
Adut Akech shimmered like starlight in motion, 25,550 Swarovski crystals on a gilet mini and feather-lined tailcoat. Precision met poetry.
Anok Yai turned heads in a black brocade bodice with optical sleeves by Thom Browne, part suit, part sorcery.
Chimamanda blazed in scarlet Prabal Gurung, crowned in feathers and fire. A whole statement, no footnotes needed.
The Power of Intentional Dressing
To center Black culture on this global stage was to right a historical imbalance. It signaled a shift from appropriation to appreciation, from marginalization to celebration. It was an acknowledgment that Black fashion is a foundation.
Even Anna Wintour, the longstanding Met Gala chair, has seen the fashion industry undergo significant changes over the years, but this year, she is inspired by how much it means to the black community. Her take on how Men’s fashion has changed in the last two decades:
“It’s become so much more imaginative, risk-taking, fearless, and fun, which is what the exhibition is all about,” she said.
The 2025 Met Gala marked a pivotal moment. From the Silk & Sound Choir’s opening to the final flashbulbs, the night announced that Black fashion isn’t a one-off. It’s a turning point. The message was clear: the fashion is tailored for us.
