Come the first Monday of May, everyone and their mothers become fashion critics. For the past decade, anyone with a casual interest in fashion, music, sports and anything pop culture-related would have had some form of engagement with the Met Gala. What began as a fundraiser for the Metropolitan Museum of Art’s Costume Institute has become a cultural juggernaut — last year’s Met Gala generated USD1.6 billion in media impact value through digital press and social media engagement. Splashed across Instagram and YouTube livestreams, it does not take a Prada-clad fashion editor to speak their mind on who fits the theme or not. You can be sinus-ridden and in sweats at 8 am, watching the red carpet live to form an opinion on X. “threw the wig in the sky and told her head to catch it,” one user tweeted about the blunt bob designer Vera Wang donned. That tweet has since gained 108,000 likes, 800 replies and 7,200 retweets. I was one of them.
Across the many varied themes the Gala has showcased — from designer retrospectives, religious themes to artistic movements — there has not been a theme that, as critic @boringnotcom puts it, addresses race in a manner as overt as this year’s theme, Superfine: Tailoring Black Style. Albeit culturally driven, the 2015 exhibit, China: Through The Looking Glass, was instead an exploration of how Western fashion has interpreted and reimagined Chinese aesthetics. The former was rooted in fantasy, while this year’s is rooted in the reality of Black style, accumulated over the past 300 years. Given the scale of the event that has the world watching along with the current global sociopolitical climate, the theme felt especially important in reflection of the formation and cultural significance of Black identities. Even among some of the esteemed guests of the gala, conversations about race are still tough, observed through soundbites and press interviews that show them only focusing on the tailoring aspect of their outfits, skimming past the cultural aspect of the theme. Perhaps where they can’t find the right words to articulate their values, can their garments speak their values instead?
“Dandyism has often been used by individuals to manipulate the relationship between clothing, identity and power,” says curator Monica Miller. Once forced upon Black men in 18th-century Europe — when slaves were slaves were made to dress fashionably as servants, acting as signifiers of their owners’ wealth. Dandyism later evolved into a tool of expressing class, race and identity, becoming a form of reclamation. A contemporary imagery of dandyism comes in the form of the zoot suit that was popularised by Black men in Harlem during the ‘30s. Known for its exaggerated padded shoulders, thigh-length jacket and balloon-shaped trousers, this silhouette was the most prominent interpretation of the dress code “Tailored for You”. Adorned with a dramatic pleated durag, a feathered hat and a matching tonal cape, Teyana Taylor’s look was the epitome of both the theme and the dress code. Co-created with Oscar-winning costume designer Ruth E. Carter, her ensemble was a proud demonstration of her career in burlesque and music — the “Harlem Rose” etched on her cape directly references her song “Rose in Harlem”. Both pregnancy reveal and red carpet appearance, Rihanna’s take on dandyism transcended the confines of gender, as grey morning stripe draped over her baby bump, layered under a tailored Spencer jacket and pinstripe wool skirt. The look embodied the spirit of men’s suiting that is a vital part of dandyism, while showcasing her in a state of divine femininity as a mother.
Tailoring has always carried multitudes of significance in ways that convey uniqueness, and that this was created just for you. At large, it means “this is for us, by us”. Presented as the ultimate form of luxury because it conveys ownership that transcends mere possession, a tailored look is meant to flatter and showcase you in the best light. Clean, crisp and impeccably draped, Zendaya’s custom Louis Vuitton zoot suit was a demonstration of tailoring at its finest. Minimal upon first glance, the monochromatic ensemble was the perfect canvas to highlight how the fabric lay with minimal creases — the tuxedo jacket featured barely-there darts that sculpted the torso, and the flared trousers hit the floor just so. Inspired by rock ‘n’ roll singer Little Richard, Lupita Nyong’o’s baby blue Chanel suit, complete with a billowing chiffon cape was too, was another demonstration of refined tailoring within dandyism, intersecting the precision of classic menswear and a playful flair that is unafraid of hues.
Balmain’s Olivier Rousteing was at the helm of subversive interpretations at the Met Gala this year. Carrying a bag in the shape of a sewing machine on the red carpet, he fashions himself as an artisan of dandyism, rather than a Dandy himself. Honouring the spirit of tailoring, his muse Rosalia wore a stark white dress with a sculptural bodice that resembled a mannequin, while Jenna Ortega arrived in a sleeveless gown crafted from metallic rulers typically found in an atelier. In the same vein was Demi Moore’s surrealist beaded dress, courtesy of Thom Browne, that resembled a gigantic necktie — another staple in dandy fashion. Browne was also responsible for Janelle Monae’s abstract suit-within-a-suit, complete with tromp l‘oeil detailing on the overcoat that resembled fashion illustrations. Repping their heritage were Diljit Dosanjh and S.Coups of SEVENTEEN. The former donned a kurta, turban and a tehmat, while the latter — and newly appointed BOSS Global Ambassador — wore a jeogori-inspired look, both showcasing their Sikh and Korean roots, tailored to precision for the world to see.
A palpable sense of pride can be observed through the Black attendees who spoke of their outfits, going beyond mere representation, but embracing a sense of recognition and celebration of their culture. In ways the world at large has consumed, adopted and appropriated Black culture through the proliferation of their music, fashion and vernacular, observing this form of acknowledgement from a mainstream institution is monumental. Tying back to our own lived experiences on this side of the world, there have been times when we have tried to mirror this vague amalgamation of the West in pursuit of an abstract idea of “progressiveness” — thereby sterilising our own culture. This should serve as a good reminder to ponder such decisions. While there is deep-rooted shame attached to our own heritage, identity and notions of power shaped by a flawed system, there is strength in honouring the plight of those who have come before us.
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