The Met Gala, held annually on the first Monday of May, featured a theme this year titled “Superfine: Tailoring Black Style.” This theme drew inspiration from Barnard College Africana Studies Professor Monica L. Miller’s book, “Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity,” celebrating the dandy archetype that originated in the 18th century. The event also coincided with an exhibition at the Metropolitan Museum of Art showcasing items like Frederick Douglass’ tailcoat and clothing from André Leon Talley and Prince.
UC Berkeley News sought insights from Leigh Raiford, a professor specializing in African American and African Diaspora Studies, and Zamansele Nsele, an assistant professor studying contemporary Black art. Both academics shared their perspectives on how attendees interpreted this year’s theme.
Leigh Raiford noted that while highlighting Black style was overdue due to historical exclusions by institutions, it served as both a celebration and a distraction. Raiford stated, “It doesn’t take a Ph.D. to know that Black style has fundamentally shaped global culture since the advent of the transatlantic slave trade.” She expressed concern over the gala’s tendency towards excess amidst global crises, suggesting moments for “speaking truth to power” were necessary alongside celebrating fashion achievements.
Raiford described Black dandyism as an expression of creativity despite exclusion and limited resources. “Black dandyism isn’t defined by a personal stylist… Rather, it’s about what has often defined the best of Black culture: adorning and valuing one’s Black being in an anti-Black world.”
Zamansele Nsele highlighted Lewis Hamilton’s attire by Wales Bonner as a significant representation of Harlem Renaissance heritage blended with African pre-colonial embellishments. Angela Bassett’s debut look embodied Congolese La Sape movement elements.
Raiford emphasized wearing clothes by Black designers uplifts their work, citing attendees like FKA Twigs in Wales Bonner and Regina King in Who Decides War. She appreciated Ayo Edebiri’s collaboration with Maximilian Davis for its homage to Nigerian Edo attire and personal family history.
Gigi Hadid wore Miu Miu inspired by Josephine Baker’s 1951 gown designed by Zelda Wynn Valdes. Raiford valued these homages to non-Western aesthetic traditions celebrating everyday acts of self-fashioning.
Zendaya’s white suit echoed Barkley Hendricks’ artistry, illustrating fashion’s interplay with art.
