The Metropolitan Museum of Art recently announced its 2025 edition resulting in an online uproar of critics and supporters for its sensitive yet essential theme. Titled Superfine: Tailoring Black Style, the gala and exhibition is set to showcase Black dandyism, a global movement among Black men characterised by placing importance and devotion in their personal style – from its foundations in the 18th century to contemporary interpretations that we see today.
It’s true that fashion and cultural institutions, the Met included, have historically overlooked people of colour despite their immense contributions to the industry and in shaping popular culture. To illustrate my point, this is the first time the Met is holding an exhibition that explores race and identity and solely focuses on Black designers of both past and present. “I feel that the show itself marks a really important step in our commitment to diversifying our exhibitions and collections, as well as redressing some of the historical biases within our curatorial practice,” explains Andrew Bolton, the Metropolitan Museum of Art’s head curator. “It’s very much about making fashion at the Met more of a gateway to access and inclusivity,” he continues.
The exhibition is inspired by author and Africana studies professor Monica L. Miller’s insightful and award-winning book Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity. Miller will also fittingly serve as the exhibition’s guest curator. At the same time, a brilliant lineup of modern dandies, namely ASAP Rocky, Colman Domingo, Pharrell Williams, and Lewis Hamilton alongside Anna Wintour will co-chair the gala with honorary chair LeBron James. From the menu to the decor, the event is set to celebrate Black culture and history in all its glory.
The Black Dandy and its Origins
Emerging from slavery, the Black dandy has its foundations in Africa and Europe depending on who you ask. But it can be traced back to the transatlantic slave trade that eventually led to colonialism. Some obvious modern examples include the La Sape movement in Congo and many other African countries that were colonised and assimilated Western style as both protest and survival.
In her work, Miller notes that Black sartorial dress was initially used as more than just style but as a form of resistance and recreation of identity while subverting the portrayal of the Black enslaved men and later of “elite” scholars like W.E.B Du Bois who used dandyism as a means to assert himself. By refashioning these Western-style garments with their own taste and decorations, early enslaved Black people were able to regain some of their power and identity.
To reflect on Miller’s powerful narrative, back then and now, Black men have used fashion to their service, turning it into their slave. But fashion is full of contradictions. It’s interesting how dressing up can serve as both liberation against oppressive systems and conformity to those very systems at the same time.
Featured Designers
Superfine will feature the impeccable and storied designs of Wales Bonner, Labrum London, Martine Rose, Virgil Abloh, and other leading Black and African designers of today, whose work continues to celebrate and remould Black representation and heritage. If this is any indication of the dress code, expect a modern twist on classic dandyism. In other words, a combination of diverse pieces peppered with intricate detailing and unique craftsmanship that combines African-inspired elements with Western accents. Louis Vuitton, Instagram, South Africa’s Dr Precious Moloi-Motsepe and her company African Fashion International are among the major sponsors of the event.
