The Metropolitan Museum of Art (MET) and Vogue announced the 2025 Met Gala theme a couple of weeks ago. For “fashion’s biggest night out”, the carpet and exhibition will focus on Black tailoring and Black dandyism.
While this theme poses some excitement, as it will be the first time seeing an exhibition dedicated to Black identity with a panel of co-chairs composed of notable Black figures, it may also invite a complex conversation surrounding the exhibition and its execution.
This year’s theme was decided by Anna Wintour and Andrew Bolton, curators for the Costume Institute for the MET. It was inspired by guest curator, Monica L. Miller and her novel, “Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity.”
Dandyism, in general, is defined as a “literary and artistic style” particularly about “excessive refinement.” It embodies Black men’s employment of fashion to defy societal, racial and even gendered norms, and is in a “negotiation of identity.” One of the most important things about dandyism in general was that it was a tool of individuality.
In a Washington Post article, Robin Givhan noted that the Met Gala has, “never focused an exhibition squarely on the subject of race.” Therefore this year’s theme is more nuanced than just the expression of Black identity–diving into Black men’s relationship with fashion through the lens of dandyism and men’s tailoring.
Yet, when intersected with the Black identity, dandyism takes on a new meaning. For Black men, dandyism is rebellion. It is the utilization of clothing as a form of personal expression and societal resistance. Black dandies employ clothing to strike at the stereotypes held by white society.
Art historian Richard J. Powell noted that “the appearance of the Black dandy was often cause for alarm in white America…a threatening presence.” This was due to Black men choosing to defy the image imposed on them by white America, instead crafting an identity that authentically represented them, which they expressed through their clothing.
In practice, Black dandies dress with meticulous rigor and attention to detail, aiming to challenge societal and class norms. In line with the 2025 Met Gala theme, Black designers have significantly influenced the fashion industry’s direction. They have redefined luxury and status symbols, with sneakers serving as a prime example.
Once considered everyday footwear, sneakers have evolved into collectibles or “grails”—highly coveted items regarded as the epitome of their kind—and have become status symbols. Contemporary streetwear, drawing inspiration from Black fashion and designers of the 80s and 90s, has been reimagined and elevated into a more luxurious style, evolving into something more expansive and refined.
Moreover, some define Black dandyism as a “diasporic metamorphosis of Black men turning into style giants” who prioritize “style and taste” despite racial tensions.
American singer and icon, Prince, is a prime example of dandyism in its purest form. Prince pushed the envelope with stage looks. His style gave leeway for expressionism and exploration of identity for Black men. Notable looks included his purple suit with a low-cut ruffled shirt he wore for his “Purple Rain” tour and the high-waisted pantsuit he performed in for his “The Ultimate Live Experience” tour.
Prince, however, just represents one facet of Black dandyism. Late fashion editor, Andre Leon Talley, was also known for crafting his identity through his clothing. Known for his voluminous caftans and clothing, Talley created a larger-than-life image of himself through that style. In an industry in which he noted, “the idea of a Black man playing any kind of role in this world seemed impossible,” his clothing allowed him to defy expectations and become a force in fashion.
So let’s get down to the point: Why did the Met choose this theme?
Bolton said that selecting this theme “marks a really important step in diversifying [the] exhibitions and collections.” While this may ring true in his eyes, the timing and the subject of the theme may propose unique challenges.
As aforementioned, the Met Gala has never dedicated an exhibition solely to race. Meanwhile, the MET has dedicated exhibitions to pushing gender norms in its “Braveheart: Men in Skirts.” This theme specifically asks not just the MET, but all of its attendees to respectfully pay homage to Black men and Black men’s relationship with fashion and society.
This presents a few caveats. One on hand, MET tables are often bought out by high fashion brands such as Thom Browne, Tommy Hilfiger, Loewe and Alaia. These are all European or white brands with a majority of them having a white person as their head designer.
On the other hand, historically the Met Gala hasn’t been known to have an overall diverse guest list, much less a Black guest list with prominent Black celebrities, fashion designers or executives.
In recent years, the Met Gala has been a showcase of captivating themes and stunning outfits. In 2015, the event featured the theme “China: Through the Looking Glass,” where celebrities like Beyonce and Sarah Jessica Parker graced the carpet in ensembles adorned with culturally Chinese motifs. Some even sported creations by Chinese designers, such as Rihanna’s iconic dress designed by Guo Pei.
The 2018 Met Gala was just as enthralling, carrying the theme “Heavenly Bodies: Fashion and Catholic Imagination.” Celebrities went all out in religious and historical references, with Zendaya dressing up as the Joan of Arc, Lana Del Rey donning an angelic winged head-piece and Rihanna delivering one of the most stellar fashion moments coming dressed as a Catholic Pope in a bejeweled crown, dress and overcoat.
In 2018, the Costume Institute aimed to create a “dialogue between fashion and medieval art,” emphasizing the influence of Western religions, particularly Catholicism, on fashion and culture.
Every year, the Costume Institute strives to develop a theme that highlights the intersection of fashion and a myriad of other areas.
For the 2021 Met Gala, “In America: A Lexicon of Fashion,” the event was criticized for dedicating a theme to American fashion, yet failing to highlight Black Americans’ contribution to it. Jeremy Pope, an actor and producer known for his roles in “Pose” and “Hollywood,” was one of the very few people who dedicated an outfit to the history of Black people in America.
With the Met Gala’s lack of diversity, and its main spearheaders being older white fashion executives, a theme dedicated to a racial identity across the world, may prove to be challenging.
It appears that the Met Gala and Vogue have implemented some remedial measures, such as Bolton choosing Miller as the guest curator and Wintour appointing Colman Domingo, Lewis Hamilton, A$AP Rocky, Pharrell Williams and LeBron James as co-chairs. Each of these individuals is a prominent Black figure who has significantly influenced and contributed to the conversation surrounding Black fashion, particularly Black dandyism.
Yet, will placing Black people in these roles truly provide the proper representation needed for the nature of the exhibit?
It is crucial to provide these platforms to Black figures, especially since the theme centers on Black identity. However, considering the Met Gala’s history, the sincerity of these actions might be questioned. These efforts could be perceived as merely fulfilling a diversity quota, a stereotype that has burdened Black communities for years. If executed correctly, however, this exhibition has the potential to significantly enhance the fashion and political discourse by genuinely showcasing Black individuals’ impact on society at the most prominent fashion event of the year.
Unfortunately, with no precedence, it will be difficult to tell how this will be executed. However, just like Black people’s relationships in society, much less white society, this Met Gala may prove to be complicated. Despite how it may turn out, this year’s Met Gala has the potential to ignite conversation, in one way or another.
Copy edited by Camiryn Stepteau
