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Cover Photo Credit: ABC News
The first Met Gala was held in 1948 was held in 1948 at the Waldorf Astoria as a celebration of the Costume Institute and its annual exhibits. In the 1970s, themes were introduced, making them a defining feature of the Gala. Since 1995, under Anna Wintour’s leadership, the Met Gala has evolved into a larger-scale event, becoming one of fashion’s most significant moments each year.
Which brings us to the 2025 theme, “Superfine: Tailoring Black Style.” According to an article published by Ebony, “At its core, Black dandyism signifies the diasporic metamorphosis of Black men turning into style giants, a storied history that dates back to the antebellum era.” Although the event isn’t until May of next year, it is already making history, as this is the first time all the co-chairs are Black men. Additionally, Miller will serve as a curator for the 2025 exhibit. However, there is concern that the theme could fall flat and that attendees might miss the mark entirely. Given the historical erasure of Black designers and the Black community’s contributions to fashion, as well as controversies surrounding past Met Gala themes, some worry that the 2025 theme could become problematic and racist.
The potential for misinterpretation lies in fashion’s history with racism, anti-Blackness, and Black erasure. An article by Aspire notes, “Historically, Black creators, designers, and craftspeople have been the driving force behind some of fashion’s most notable moments, but too often recognition falls short of those who deserve it.” Race and fashion are deeply intertwined. Bronwyn Fogarty, who studied costume design and fashion history, emphasizes how textiles and color patterns are often rooted in the labor of different races. “There are textiles and color patterns that come from the labor of different races,” said Fogarty. “Stitches hold stories, the feeling of fabrics hold stories.”
A high-profile fashion philanthropy event like the Met Gala is not immune to controversy and backlash pertaining to cultural appropriation. Amerique Phillips and Alexis Baker, in their article for the University of Utah, define cultural appropriation as the “cherry picking” of certain aspects of a culture while ignoring their original significance, essentially reducing the culture to a passing trend. The 2015 Met Gala theme “China: Through the Looking Glass” and the 2018 theme “Heavenly Bodies: Fashion & The Catholic Imagination,” sparked backlash from Chinese Americans and Catholics, respectively, who felt that the themes and outfits belittled or misrepresented their cultures.
Similarly, Black fashion and culture has often been subject to cultural appropriation within the mainstream fashion industry. Khalilah Jones, in her article Cultural Appreciation vs. Cultural Appropriation, notes, “Trends that begin within the Black community cycle to mainstream fashion after the novelty has worn off and they have lost association with Black culture.” This cycle is a stark example of how anti-Blackness is embedded within American culture and how culturally significant styles and aesthetics can be whitewashed and distanced from their cultural and racial context.
Dani Echevarria adds her perspective, saying, “As a Black woman, I have to emotionally prepare myself to be thrown into several ignorant conversations before, during, and after the Gala.” Echevarria further notes, “Black fashion has been conflated as trendy, when in a bigger scheme it has historical and cultural roots which are dismissed or seen as ‘ghetto.’ How many white people understand that Black fashion and being dandy can be cohesive?”
The 2025 Met Gala has the opportunity to showcase cultural appreciation over appropriation. Involving Black designers would elevate their careers and help bridge racial gaps in the fashion industry. The appointment of all Black co-chairs is a positive step and may indicate that cultural sensitivity is being prioritized. However, this requires active work, including education, collaboration with Black designers, and a self-awareness of cultural appropriation in mainstream fashion. Echevarria poses an essential question: “Will attendees understand Black Dandyism as a social movement and not just a physical style?”
Contextualizing the fashion industry and the 2025 Met Gala theme highlights the embedded anti-Black, racist, and classist practices and ideologies. For the event to succeed in its theme, there must be careful attention to designing outfits that reflect Black Dandyism’s historical and cultural significance within the Black community. Avoiding one-dimensional or racist stereotypes is possible, and the 2025 Met Gala could become an important cultural moment that pays homage to Black Dandyism and sparks conversation about the Black communities’ contributions to fashion. It all comes down to whether people are truly willing to put in the work.
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