The Metropolitan Museum Of Art’s “Superfine: Tailoring Black Style” Exhibit Spotlights Humanity In Fashion

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The Metropolitan Museum of Art was extra dapper on the first Monday in May! Before tonight’s Met Gala, the museum unveiled its Costume Institute’s “Superfine: Tailoring Black Style” exhibit, which will be celebrated with the annual fashion event. Ahead of the stylish festivities, we arrived for a morning at the Met to take in the dynamic new displays—which celebrate the origins, cultural impact, and future of Black dandyism over time.

Starting on May 6, the public can view the “Superfine” exhibit’s various displays spotlighting Black designers and historic garments within dandyism, including pieces from Louis Vuitton, Balmain, Telfar, Willy Chavarria, Agbobly, Adidas, Wales Bonner, and more. Major historical standouts in the range include waistcoats owned by abolitionist Frederick Douglass, Dapper Dan’s vintage ’80s Vuitton-inspired jacket, and—in an especially emotional moment for many fashion fans—a caftan and custom luggage owned by the late, legendary André Leon Talley.

All are organized within an open display by artist Torkwase Dyson, which is divided into 12 sections inspired by elements of the dandy identity: Ownership, Presence, Distinction, Disguise, Freedom, Champion, Respectability, Jook, Heritage, Beauty, Cool, and Cosmopolitan. The concept hails from guest curator Monica L. Miller, whose 2009 book Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity—as well as Talley’s own passing in 2022—sparked the exhibit’s initial idea for head curator Andrew Bolton.

“It is the first in-depth exhibition that locates the history of dandyism in multimedia context and fashion, film, photography, and fine arts,” Bolton said at an exclusive press conference before the 2025 Met Gala. “What makes it possible to transform Monica’s book into an exhibition is the Costume Institute’s collection of high style menswear, which serves as a foundation for imagining a soft oral history of Black dandyism. Although several of our recent shows have addressed issues of race and identity, such as ‘In America: An Anthology of Fashion,’ which focused on mortal stories in the figures in fashion. This is our first show that is directly addressing the impact of race on sartorial style. For this reason, it was important that the exhibition be authentic to the department by reflecting the scope of our collection. ‘Superfine’ also marks our first exhibition devoted to menswear in more than 20 years, and we’re always striving to make fashion a gateway to access and inclusivity by engaging with topics that reflect the zeitgeist. While the theme of ‘Superfine’ certainly resonates with the current political landscape, it was originally conceived as response to a renewed interest in men’s fashion.”

During the process, Miller and Bolton worked closely together to honor dandyism’s roots and heritage while looking towards the future—and ensuring audiences took away the deep influence of the fashion movement across culture. In addition to Talley, pieces in the exhibition were previously worn by “dandy” figures including Talley, Prince, and more.

“it has been a privilege to care for their garments, accessories, and intimately understand their different and powerful relationships to dandyism, fashion, style and identity,” Miller said. “There is so much about the experience of translating my earlier work on Black dandyism into ‘Superfine’ that has been through privilege and a joy.”

Aside from its historical and cultural value, the exhibit—and indeed, the Met Gala this evening—is an emotional one. Many attendees were spotted gasping and tearing up upon seeing Talley’s belongings in-person, and everyone who took to the museum’s press podium noted personal connections to its pieces on display. The most shining (and best-dressed, in a dapper raspberry suit and beret) example came from Met Gala co-chair Colman Domingo, highly regarded as a “dandy” of the red carpet over the last several years, who specifically noted his connection to dandyism through his father, stepfather, oldest brother, mother, and aunt while growing up. The dandyism movement’s emphasis on presentation, empowerment, and a splash of unique flair truly struck a chord—and is certain to do so with those visiting “Superfine” this year.

“You can have a lot of money, but with some yards of fabric and some skill, you can make what you want,” Domingo said. “Remember when my aunt Jeanette and my mom would buy McCall’s patterns by the dozen to make their own clothes. My mother and Jeanette would open up the dining room and fabric would be laid out on the table for making dresses, listening to music, gossiping. I remember them saying to us, ‘You can always have style. Style doesn’t have to cost too much.’ What a marvelous idea, right? With a little nip and a little tuck, you can create what you wanted for yourself and how you wanted to be perceived. I’m so very grateful that I learn from all these people.”

All images: Courtesy of the Metropolitan Museum of Art

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