The Met Gala Is Back — And This Time, It's Deep and Personal

It’s Met Gala season again—and this year, things are hitting differently. The dress code? Deep and Personal. The theme? Superfine: Tailoring Black Style. Just the sound of it excites me. 

You see, behind the flashing lights and designer gowns, the Met Gala is, at its heart, a fundraiser for The Costume Institute at The Met. Year after year, it raises jaw-dropping eight-figure sums and marks the opening of the Institute’s annual fashion exhibition. But let’s be honest—we show up for the red carpet. Because that’s where art, fashion, and identity collide in the most spectacular ways.

This year’s theme is guest-curated by Monica Miller and inspired by her 2009 book Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity. And let me tell you—it’s not just fashion history, it’s a cultural awakening.

Miller reminds us that Black dandyism has roots that go deep—as in 17th and 18th centuries deep. Back when enslaved people were dressed up by their owners as symbols of wealth and possession. But instead of being silenced by that degradation, Black men in particular turned it into a powerful statement. Flipping the script, using elegance as resistance, making personal style a language, and turning self-presentation into art. And that’s what dandyism is all about.

But dandyism isn’t just about being sharp—it’s about being self-aware, intellectual, and artistic, all while looking immaculate. Think cultural flair, and ancestral style. When I think of Tailoring Black Style, my mind immediately goes to Africa—the root of it all. The birthplace of Black music, Black art, Black creativity, Black fashion. Everything we define as luxury today? We’ve always been doing it—without trying.

So, when I dream about what this Met Gala red carpet could look like, I see:

The Sapeurs (La Sape) from Congo—tailored suits, flamboyant confidence, and unmatched elegance born out of resistance.

MAXHOSA by Laduma Ngxokolo—Proudly South African, turning Xhosa heritage into luxury knitwear.

Oswald Boateng —  Ghanaian tailor who redefined Savile Row with color, precision, and Black excellence.

Kenneth Ize from Nigeria—blending traditional Aso Oke weaving with cutting-edge silhouettes.

Thebe Magugu—South Africa’s storytelling genius, designing pieces that speak truth with grace.

And then…my mind travels across the continent, to the very fabrics and symbols that are stitched into our history:

Thioup / Tie and Dye / Adire from West Africa – bold, spiritual, handmade, and full of story.

Kente from the Ashanti – every stripe, a sentence in a royal poem.

Shuka of the Maasai – red, proud, fearless.

Bogolanfini – Malian mud cloth, rich with sacred motifs.

Faso Dan Fani from Burkina Faso – a textile of resistance turned into a national pride.

This year, I hope the Met carpet reflects not just Black fashion, but the root of it all. Not just tailoring, but the soul behind every stitch. I hope to see hand-sewn suits, daring prints, sculptural silhouettes, bold accessories, and cultural flavor that’s not just for show—but for honor.

Because at our core? We are the original definition of Black Tailoring.