The first Monday of May saw the fashion Superbowl held at The Metropolitan Museum. This year’s theme, “Superfine: Tailoring Black Style,” was a delicate balance between a history lesson and couture: Black Dandyism.

Dandy is a term used to describe 19th century White aristocrats such as Beau Brummell, who dressed in elegant refinement – usually tailored suits – to express cultural distinction. This aristocratic style of dress was usually forced upon Black enslaved peoples, and as an act of subtle resistance, they began to augment this style to reclaim their identity, birthing the Black Dandy. The earliest example being William Lee, George Washington’s servant.

Black activists such as Frederick Douglass and Toussaint Louverture dressed in deliberate elegance as an act of resistance against hegemonic denigrating perceptions of African peoples. Their high collars, embroidered waistcoats, and polished boots weren’t just stylish, they were statements. Clothing was a tool of respectability, politics, performance, and pride. In an age when Black bodies were caricatured and dehumanised, dandyism became armour, a form of self-assertion.

“In an age when Black bodies were caricatured and dehumanised, dandyism became armour, a form of self-assertion”

This legacy extended into the Harlem Renaissance and the Civil Rights era, where Zoot Suits and cigar-tipped swagger defied both racial stereotypes and sartorial norms. Josephine Baker and Gladys Bentley are examples of lady dandies who broke barriers using this style. Black Dandies weren’t just dressing up – they were dressing against. Across the diaspora, there were various regional iterations of this style from the Sapeurs of Congo to the South African Izikothanes and Dapper Dan of 80’s New York. Think Sunday best! Contemporarily, Black creatives still embrace this style to subvert established status quo, exemplified by Janelle Monáe who consistently uses tuxedos and surrealism to blur gender lines.

It’s easy to forget, given the memes and the extravagance, that the Met is a fundraiser for the Costume Institute – a place where fashion is treated as history. This year, that function finally felt real. Black stylists, designers, and icons were front and centre, acknowledging the contributions of Black creativity to the global fashion canon.

For the first time in history, Black men such as Lewis Hamilton and Colman Domingo had solo covers in Vogue’s Met issue dedicated to highlighting Black style and its influences on mainstream fashion. Self-proclaimed Black Dandies such as Dandy Wellington and Iké Udé were included, who showcased how various generations of Black men have used the oppressor’s fashion for self-definition, whilst bringing historic fashion to life.

Tems in Ozwald Boateng and Diana Ross in Ugo Mozie made the loudest statements wearing Nigerian gowns, spotlighting diverse designers. Doechi and Lauryn Hill stole hearts by sporting their afros in a world that often ridicules natural Black hair. My next favourite must be Zendaya, styled by icon Law Roach, in a monochrome cream suit heralding the return of her Floptropica 2014-Teen-Vogue big hat aesthetic.

Laura Harrier proved that a suit can be feminine, wearing an ethereal, white Zac Posen two-piece with billowy, silk sleeves and a sculpted, seductive waistcoat. Rihanna tailoring a baby bump in a pin-striped bustier, black cropped blazer, bustled skirt and a polka dot satin cravat finish to fashionably announce her third pregnancy was not on my 2025 Bingo card, but she did it in style. Teyana was one of the most Taylor’d in a custom ruby Ruth Carter, durag, and platform heels that were a love letter to the Harlem Zoot suit! But the best performance must be Damson Idris, who not only pulled up in an APXGP race car and stepped out in a racing jumpsuit, but – with a dramatic flourish – was unzipped to reveal a perfectly tailored crimson suit underneath! Honourable mention to the overarching statement accessories that adorned the event: grillz and canes!

“Honourable mention to the overarching statement accessories that adorned the event: grillz and canes”

Diljit Dosanjh was a shining star bringing Indian dandy to the forefront through wearing a custom ivory sherwani, turban and ornate jewellery, adorned with a ceremonial sword and cape that encapsulated a Maharaja-inspired look. Creative kudos to Jenna Ortega’s dress made of rulers, and Demi Moore, who dressed as a tie, for taking “tailoring” quite literally.

The gala successfully raised a record $31 million, but was this ultimately progressive or performative? For the first time, an African organisation, African Fashion International directed by Dr. Precious Moloi-Motsepe, was one of the key sponsors of the gala which made space for more African designers on the red carpet. However, although 12 Black designers and various stylists like Wayman+Michah were prominently featured, they were still somewhat overshadowed by legacy brands like Chanel and Dior.

“Crucially, there is an unease in watching a style born of survival be repackaged as red-carpet glamour”

Crucially, there is an unease in watching a style born of survival be repackaged as red-carpet glamour. Perhaps seeing privileged bodies wearing this political statement without having experienced the context can be uncomfortable, if not seen to be reducing the style to a costume. Moreover, influential Black figures like Wisdom Kaye – arguably the epitome of modern, male, tailored fashion – were unjustly not invited which brings into question intent.

Ultimately, Black Dandyism at the 2025 Met was not just aesthetic. It was archival, historic, and political. Nor was it simply playing dress-up; it offered visibility to bodies that are all too quickly erased in white-dominated industries. This theme could be a gateway to not only appreciating diverse fashion, but making the industry more inclusive.