The 2025 Met Gala is celebrating Black dandyism. Here's what that means.
Fashion's biggest night of the year has finally arrived.
The 2025 Met Gala will take place Monday night at the Metropolitan Museum of Art. Every year, celebrities flock to the gala for the annual fundraiser, which raises money for the museum's Costume Institute, in high-fashion ensembles.
The Met Gala has a different theme each year. For the 2025 event, it's "Superfine: Tailoring Black Style." As reported by Vogue, the theme was designed to celebrate menswear and Black dandyism, which is both a style and an ethos that dates back to the 1800s.
Here's everything you need to know about Black dandyism and how the Met Gala will honor it.
Black dandyism, explained
Put simply, a dandy is a man who's dressed sharply. He's refined, has excellent manners, and is perfectly groomed.
Beau Brummell, a figure of Regency England, is widely considered the first dandy. His care for his personal appearance inspired other men of the late 18th and 19th centuries to employ good hygiene and experiment with trendy garments, leaving behind aristocratic ways of dressing.
Black dandyism, though, goes beyond fashion and aesthetics.
As Ty Gaskins reported for Vogue, what's often described as a style is better defined as a "fashion revolution" — one that's simultaneously an act of protest, a creation of culture, and a celebration of individuality for Black men.
"In a world where Black people have been marginalized, the dandy became a figure who defied the rigid categories of race and class that sought to confine them," Gaskins wrote.
Black dandyism has roots in the post-Emancipation era, when former slaves and servants took on dandyism — or dressing in sharp suits, polished shoes, and accessories like hats and ties — as a form of assertion by assimilation.
However, Vogue reported that the movement truly blossomed during the Harlem Renaissance when figures like Langston Hughes and Cab Calloway emerged, changing both society at large and Black dandyism specifically.
Their work and outfits inspired modern stars like André 3000 to embrace Black dandyism as a signature style and essence. Movies like " Sinners" have also embraced Black dandyism this year.
Colman Domingo and other stars will bring this theme to life
When Vogue announced the 2025 Met Gala theme in October, it reported that it took inspiration from Monica Miller's book "Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity," published in 2009.
Both the theme and the Costume Institute's Spring exhibition will examine the impact style had on the Black diaspora, zeroing in on Black dandyism.
The Met Gala itself has never focused on menswear, and the museum's forthcoming exhibit is only the second in the Costume Institute's history to do so, following its "Men in Skirts" exhibit, which ran from November 2003 to February 2004.
The 2025 Met Gala also has a "Tailored For You" dress code, designed to encourage attendees to honor the theme and reflect their personal style.
This year's Met Gala co-chairs — Lewis Hamilton, Pharrell Williams, Colman Domingo, and ASAP Rocky — will help to set the tone for the night with their looks, as all are known for their high-fashion approaches to menswear.
Vogue said it hopes attendees take "creative interpretation" of the dress code, though suits and accessories typically associated with men, from pocket squares to statement hats, will be popular on the red carpet.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Boston Globe
30 minutes ago
- Boston Globe
When a democratic medium documented a democratic nation
Nearly two centuries later, it's impossible to imagine the transformative effect the invention of photography had. As the medium grew and developed, it allowed for an unprecedented, and unprecedentedly varied, documentation of the growth and development of the nation that sustained it. 'The New Art' is drawn from a promised gift to the Metropolitan Museum of Art, the William L. Schaeffer Collection. The show runs at the Met through July 20. Advertisement Anonymous, "Roller Skate and Boot," 1860s. Metropolitan Museum of Art It's abundant and abundantly miscellaneous, though portraits very much predominate. What people most wanted to see was themselves and other people. If anything, that was even truer then than now, since accessible (and affordable) portraiture was a phenomenal novelty. In no other genre did this democratic medium democratize more. As Douglass also said in that speech, 'The farmer boy gets an iron shoe for his horse, and metallic picture for himself at the same time, and at the same price.' Advertisement Installation view of "The New Art: American Photography, 1839–1910." Photo by Eugenia Tinsley, Courtesy of The Met But among the 275 photographs on display there are also still lifes, landscapes, nature studies, charming bits of bizarrerie. The hats on a quartet of sorority sisters from around 1870 are millinery a la Hogwarts. The aplomb of a young man posing with a rooster is positively monarchical. Pet squirrels appear not once but twice. In one of the images, the animal's tail is blurred, thanks to the long exposure times required by the daguerreotype process. Anonymous, "Studio Photographer at Work," c. 1855. Metropolitan Museum of Art Of special interest are multiple examples of the medium taking itself for its subject. There are images of photographic studios, of photographers at work, of people holding photographs. Are they more documentation or celebration? Clearly, it didn't take long for photography to enter the realm of meta and reflexivity. That, too, was part of the medium's newness, extending to how, in its self-awareness and capacity for fantastical juxtaposition, photography foreshadowed Surrealism. Along with photographs, 'The New Art' includes three vintage cameras and three stereopticons. Greeting visitors at the entrance to the show is a studio camera from the 1870s. A handsome object of wood, brass, and glass, it's bigger than two breadboxes. In the last gallery, there's a stereoscopic camera from the 1880s. With its pair of small protruding lenses, it could be the stationary great-great-great-grandfather of the title character in Pixar's Installation view of "The New Art: American Photography, 1839–1910." Photo by Eugenia Tinsley, Courtesy of The Met The cameras are a reminder that the title of the exhibition could just as well be 'The New Technology.' A camera, after all, is a machine as a paintbrush, say, or pencil is not. It was this piece of machinery that enabled the newness of this new art. Advertisement The show's abundance makes it all the more important that it be mounted with skill and imagination, which it is. The exhibition is organized by photographic format, which effectively means it's organized chronologically, as a succession of new formats advanced the medium. They included daguerreotypes, tintypes (made of iron, not tin), ambrotypes, cyanotypes, salted paper prints, albumen prints, platinum prints, and gelatin silver prints, which would dominate 20th-century photography. Anonymous, "748. Schoolmaster Hill Tobogganing, Franklin Park, Roxbury, Massachusetts," 1905. Metropolitan Museum of Art One of the fascinations of 'The New Art' is the interplay of format and subject. Published by E. & H. T. Anthony, "Specimens of New York Bill Posting, No. 897," from the series "Anthony's Stereoscopic Views," 1863. Metropolitan Museum of Art Religiosity does come through in several portraits of dead infants and children. In an era when the depredations of infectious disease were a given, such images weren't seen as morbid. That absence of morbidity underscores how different then was from now. Much more frequent are photographs that look ahead (more newness): a roller skate strapped to a boot, a wall of ads (both from the 1860s), locomotives; a Ferris wheel. Or there's the way four views of Niagara Falls, one of them showing a tightrope walker crossing above, contrast with an 1897 platinum print of a high-power line being raised there. Famous events are recorded — the California Gold Rush, the Civil War — but daily life and everyday people are much more prominent here. A few celebrated photographic names appear: Advertisement Carleton E. Watkins, "View on the Columbia River, from the O.R.R., Cascades, No. 1286," from the series 'Pacific Coast,' 1867. Metropolitan Museum of Art Yet the vast majority of photographers are either little remembered or simply unknown. Anonymity, in a way, is fitting. Again and again, what we see here — not that this was the photographers' intent — is the rendering of what was common then becoming uncommon in the eyes of posterity. Posterity is, of course, just a fancy way of saying 'us,' 'now,' and, yes, 'new.' THE NEW ART: American Photography, 1839-1910 At Metropolitan Museum of Art, 1000 Fifth Ave., New York, through July 20. 212-535-7710, Mark Feeney can be reached at


Los Angeles Times
39 minutes ago
- Los Angeles Times
What's the matter with men? The year's most-talked-about TV shows have answers
They've hurt people in sudden fits of rage and calculated, premeditated attacks. They've blackmailed, threatened, lied and seduced. Now, they're starting to face the consequences. After years of showing toxic male behavior onscreen, this TV season has seen plenty of badly behaved men — well, at least the fictional ones — receive retribution. Netflix's 'You' ends with white-knight-in-his-own-mind Joe Goldberg (Penn Badgley) behind bars. During the final season of Hulu's 'The Handmaid's Tale,' Nick Blaine (Max Minghella) and Joseph Lawrence (Bradley Whitford), onetime functionaries of the fundamentalist post-America known as Gilead, realize that oppression based on one religion's beliefs may not be a good idea. 'Black Mirror' sequel episode 'USS Callister: Into Infinity' showed just how deep the toxicity of an abusive captor can run. And after four episodes of Netflix's 'Adolescence,' baby-faced teen killer Jamie Miller (Owen Cooper) finally admits fault. 'Handmaid's,' the 2017 drama series Emmy winner that many saw as a coded message about President Trump's first term, is a particularly potent example of the shift. 'There's no such thing as a good commander,' says Yahlin Chang, who with Eric Tuchman serves as this season's showrunner. 'If you are commander in Gilead, then you are by definition this toxic, poisonous force that needs to be rooted out from top to bottom.' In a world where the powerful increasingly act with impunity, taking fictional villains to task makes sense, a form of Hollywood wish fulfillment for those who feel stuck or hopeless. Programs such as Prime Video's 'The Better Sister' and Apple TV+'s 'Bad Sisters' further the conversation by showing the domino effect male toxicity has on others. The first season of creator and star Sharon Horgan's dark comedy 'Bad Sisters' is about a family of women who hate their sister's emotionally and physically violent husband almost as much as they want to save her from him. In the second season, which premiered last November, the sisters learn there's more to it than simply removing him from the situation. 'Something I was really drawn to write about is that, in the end, they didn't save her,' Horgan says of the battered Grace, played by Anne-Marie Duff. Instead, with years of trauma to work through, she retreats into herself — exactly the outcome her sisters hoped to prevent. 'She couldn't reach out to her sisters, who were heroes to her, and who she knew, deep down, would have done everything for her,' Horgan says. 'But she couldn't quite save herself. And it, structurally, gave us this journey for them.' With 'The Better Sister,' creators Olivia Milch and Regina Corrado look at all the people affected by Corey Stoll's Adam, a husband and father who's only perfect in the public eye. This isn't just about the abuse he inflicts on his wife, Chloe (Jessica Biel), a media personality known for her cutting feminist wit. It also includes Adam's mockery of teen son Ethan (Maxwell Acee Donovan). 'Ethan is at this intersection of childhood and adulthood, and he has this innocence as well as this somewhat complex understanding of adult relationships because he's been witnessing this tension unfold with his parents,' Milch says. Like a lot of teens, Ethan seeks guidance in the online manosphere, going down a rabbit hole of misogynistic comments about his stepmother. Ethan could easily label Chloe a hypocrite in these forums or at home. Instead, the other users disgust him. 'We wanted to talk about how there was a healthy aspect to it for him … that he needed to get it out … and that this was something that was cathartic for him,' adds Corrado. By contrast, the British series 'Adolescence' delves into the ways the internet can push boys in the wrong direction. But co-creator Jack Thorne stresses that collaborator Stephen Graham, who stars as Jamie's father, didn't want this to be the only factor. 'I know that, when I was 13, if I'd read or been told '80% of women are attracted to 20% of men' — a common misogynist talking point online — 'I'd have said, 'Yes, I believe that,'' says Thorne, who is in his 40s. He adds that he also would have acted on the idea that 'your job is to make yourself attractive; your job is to get yourself fitted; your job is to learn how to manipulate the situation.' Thorne says he, Graham and director Philip Barantini weren't just concerned with younger men, though: 'We wanted to examine ourselves in this a bit.' 'We're three men, all of the same age,' Thorne explains. 'We've had different lives, but we've all exhibited cruelty. We've all behaved in ways that were less than perfect. We've all got a relationship with our own shame.' The reason 'You' worked for five seasons is that Badgley's love-obsessed stalker has the charisma to gaslight himself and others into believing he's a good guy. He is incapable of self-examination. 'Performatively, he's a feminist,' says co-showrunner Michael Foley, noting that Badgley's Joe sees himself as a lover rather than a killer — albeit a lover who will kill anyone who keeps him from the object of his infatuation. 'You' premiered in 2018. Co-showrunner Justin Lo says that, if it premiered now, 'Joe would have started off a lot meaner.' 'The toxicity would be more unapologetic, more front and center,' Lo continues. 'Our Joe's toxicity began in a way that was more buried, more covert. And as the series and our culture has progressed, it's gotten more pronounced.' In fact, Joe's final words to his viewers are that he isn't to blame for his actions. You are — for watching.


Miami Herald
2 hours ago
- Miami Herald
American Black Film Festival is in Miami. Here are some films to check out
As the pandemic forced a global shutdown halting businesses, communities and touching every aspect of how society functioned in 2020, a pivotal election was brewing across the U.S. — one that would have a major effect on southern states. And as that chaos brewed, Black Voters Matter decided to meet the moment. Their efforts to energize and register voters is chronicled in a new documentary, 'Love, Joy & Power: Tools For Liberation.' That story is one of several films screening at the American Black Film Festival when it rolls into town this week highlighting Black storytellers and providing resources for those in the filmmaking industry. Black Voters Matter co-founder Cliff Albright said the film is a story about overcoming, pointing out the significance of the film's debut close to Juneteenth. 'It's not just the story of 2020 or the story of Black Voters Matters, it's really a story of how we have historically overcome, including going back to just Juneteenth,' he told the Herald. 'It shows the work that we're doing, but it also shows what movement is really like.' The film's timing is not lost on Albright, who said the story is essential at a time when Black stories and how they are shared is either being banned or altered in schools and libraries. 'Liberation' is just one of the films ABFF attendees can see when it kicks of Wednesday. We've put together a few more for you all to check out: 'Love, Joy & Power: Tools For Liberation' In this documentary, readers are taken on a journey through the efforts of Black Voters Matter to turn Georgia 'purple' in the 2020 election through grassroots voting efforts across the South, including Florida. The film, directed by Daresha Kyi, will screen at 1:10 p.m. Thursday at O Cinema. 'The ReWrite.' What is an authentic Black voice? That's what screenwriter Elliot (Stephen Barrington) obsesses over after he is told by white executives how Black people should sound and act. He wrestles with this as he tries to find the balance between being authentic and making money. 'I just want to sell without selling out,' he says. The film, directed by Terry Dawson, debuts at ABFF at 2:15 p.m. Thursday at Miami Beach Convention Center in Screening Room #2. 'Wait Until Tomorrow' The intersection of race, wealth and opportunity take center stage in this documentary that follows the lives of various Black families in the United States. The stories drive home the realities behind data examining the search for economic mobility. Directed by Osato Dixon will show at 10:30 a.m. Thursday at O Cinema. 'Carnival: They Can't Steal Our Joy' The colors. The beads. The feathers. The sounds. These are some of the things that make up Caribbean Carnival. But Ian Mark Kimanje's film, 'Carnival: They Can't Steal Our Joy,' pulls back the layers of the festival's significance culturally and historically in Toronto and beyond. Making its U.S. premier, the film will screen at O Cinema at 10:30 a.m. Saturday.