Latest news with #BlackDandyismandtheStylingofBlackDiasporicIdentity
Indian Express
08-05-2025
- Entertainment
- Indian Express
The book behind the Met Gala: Monica L Miller's ‘Slaves to Fashion' and the politics of Black Dandyism
When Monica L Miller published Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity in 2009, few could have predicted that her academic study of Black style, identity, and resistance would one day shape the theme of fashion's most closely watched event. But this year, the Met Gala — known as much for its couture spectacle as for its cultural references — turned to Miller's work for inspiration, putting Black dandyism centre stage. Held annually to benefit the Costume Institute at the Metropolitan Museum of Art, the Met Gala has in recent years looked to literature for thematic cues. In 2024, JG Ballard's 1962 short story 'The Garden of Time' offered a meditation on beauty, decay, and temporal fragility. This year, Miller, a professor and chair of Africana Studies at Barnard College, served as an inspiration. Published by Duke University Press, Slaves to Fashion examines how, from Enlightenment England to contemporary culture, Black men have appropriated the codes of high fashion, often born from European colonial contexts, to construct alternative, powerful identities. 'Dandyism is by definition an act of refusal to fit into or even accept given or typical categories of identity,' Miller said during remarks at the Gala's press preview, as quoted in the Vogue. The book — which received the 2010 William Sanders Scarborough Prize for the best book in African American literature and culture from the Modern Language Association (MLA) and was shortlisted for the 2010 Modernist Studies Association Book Prize — maps a lineage of style that includes Julius Soubise, an 18th-century freedman who wore diamond-buckled, red-heeled shoes; American sociologist W E B Du Bois, who embraced the aesthetic in his youth; and contemporary figures such as rappers Sean Combs aka Diddy and André 3000. Yinka Shonibare, the Afro-British artist known for the photographic suite, 'Diary of a Victorian Dandy', also features in Miller's analysis. The dandy's wardrobe becomes, in Miller's reading, a site of cultural reclamation. 'Luxury slaves,' as they were once called in 18th-century England, were Black servants styled in aristocratic garb by their masters. But, Miller shows how these individuals subverted these symbols . 'Tweaking and reworking their uniforms,' she writes, they carved out new new class identities. On June 3, Yale University Press will release, 'Superfine: Tailoring Black Style', a hardcover companion book for this year's Met gala. It has been authored by Miller, who is the guest curator for this year's exhibition, and Costume Institute Curator in Charge, Andrew Bolton. The book traces the legacy of Black menswear across three centuries —from hip-hop aesthetic and popular street trends, through its use during the Harlem Renaissance and the civil rights movement. As conversations about race, representation, and cultural appropriation continue to evolve in art and fashion, the two books are a study on how style can speak volumes. Aishwarya Khosla is a journalist currently serving as Deputy Copy Editor at The Indian Express. Her writings examine the interplay of culture, identity, and politics. She began her career at the Hindustan Times, where she covered books, theatre, culture, and the Punjabi diaspora. Her editorial expertise spans the Jammu and Kashmir, Himachal Pradesh, Chandigarh, Punjab and Online desks. She was the recipient of the The Nehru Fellowship in Politics and Elections, where she studied political campaigns, policy research, political strategy and communications for a year. She pens The Indian Express newsletter, Meanwhile, Back Home. Write to her at or You can follow her on Instagram: @ink_and_ideology, and X: @KhoslaAishwarya. ... Read More
Hamilton Spectator
06-05-2025
- Entertainment
- Hamilton Spectator
Inside the Met Gala: Under a petal-filled sky, guests honor Black style, hail a ‘monumental night'
NEW YORK (AP) — 'Well, it took a minute,' said Spike Lee, surveying the glittering Met Gala crowd during cocktail hour through bright orange glasses that matched his New York Knicks cap. 'But we're here now, that's the most important thing.' Lee was referring to the fact that for the very first time, the Met Gala was making a point of celebrating Black style and Black designers — something he felt was an overdue milestone, but a very welcome one. 'Long overdue,' Lee repeated. 'But we're here to celebrate. And who knows what's gonna happen because of this event? There's gonna be reverberations around the world.' Lee was echoing an excitement that many of the approximately 400 guests — luminaries in sports, music, fashion, film, theater and more — shared as they sipped cocktails or toured the gala's accompanying exhibit, 'Superfine: Tailoring Black Style.' The show is an exploration of Black menswear from the 18th century onward, with dandyism as a unifying theme. Another film director, Baz Luhrmann, was touring the exhibit, designed by curator Monica L. Miller, a Barnard professor who literally wrote the book on dandyism: 'Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity. He, too, mused on the importance of this year's theme. 'Sometimes the subjects are fun, sometimes you go, that's interesting. But this is a subject where you go, why has light not been shone on this before?' Luhrmann said. 'Black sartorial power on culture is so great but how much talk has there been about it?' Thinking of a departed friend For Whoopi Goldberg, the most important person of the evening wasn't actually there. It was her late friend, André Leon Talley, the fashion editor and personality who was so important to Black style, and with whom she'd attended previous galas. Talley, who died in 2022, is honored in the exhibit; there's a caftan he wore, among other objects. And Costume Institute curator Andrew Bolton has said he was an inspiration for the show. 'I think they did him proud,' Goldberg said during cocktails. 'I'm very happy to be here again, but spectacularly happy to see how they took care of him.' Asked what Talley would have thought of the show, she guessed he'd say: 'I'm glad you understand.' And she added: 'What better way to honor him?' Goldberg was dressed head to toe — meaning mini-top hat to spats-inspired shoes, to handbag – in Thom Browne. 'He said. 'Will you come?'' Goldberg said of Browne, whose suits, particularly, are hugely popular. 'And I said, when you're done, just put it on me, and I'm good. I feel incredible.' So what is dandyism? It was a favored topic of conversation; every guest had a slightly different way of defining what a dandy is. For director Lee, it was simple: 'Doing your own thing.' For Audra McDonald, it was about 'a sense of reclaiming' one's own identity and worth. The Broadway actor, currently starring in 'Gypsy,' was among the first guests examining the exhibit, along with her husband and fellow actor, Will Swenson. Over at cocktails, the Rev. Al Sharpton was describing dandyism as a form of activism: the silent kind. 'It means to me that even in the midst of being in a socially limited situation, we celebrate. I refuse to submit to just having a menial job. I'm gonna dress up . I'm gonna tip my hat. It's a sense of rebellion without having to speak it.' A crucial sense of timing Sharpton was full of praise for the Met having chosen this moment to honor Black style. 'It comes at a very important time,' he said. 'To make a statement of diversity at the highest cultural level — which is the Met Gala — when diversity is under attack by the highest office in the land is more than if I could do a hundred marches. This is a monumental night.' Broadway actor Alex Newell agreed. It was the performer's third Met Gala in a row, but this one had a special meaning. 'It's nice to see us represented this way,' Newell said. 'Just when it is needed the most.' A flower-filled night sky Once gala guests climb the steps outside and enter the museum's Great Hall, they encounter each year a monumental centerpiece, usually floral. This year, it was hundreds — thousands? — of flower petals suspended from the ceiling, with lighting evoking a starry sky. The petals also hung over the Great Hall staircase, which guests ascended to greet the awaiting receiving line of gala hosts. The petals — made of fabric, truth be told – were meant to symbolize narcissus flowers, and there were also reflecting pools, nodding to the myth of Narcissus. The greeting was not only visual but musical: An orchestra, accompanied by swaying singers, played favorites like Al Green's 'Let's Stay Together' and Stevie Wonder's 'Don't You Worry 'Bout a Thing,' Guests then either proceeded to view the exhibit, or head straight to cocktails in the airy Engelhard Court. Often, they seem to prefer socializing, but this year the exhibit was filled with guests. Honoring Oscar (Wilde, that is) One of the more famous dandies, historically speaking, was Oscar Wilde. And so there was symmetry in the fact that Sarah Snook — the 'Succession' star — was dressed in a way Wilde would have liked. It was certainly intentional. Snook now is appearing on Broadway in 'The Picture of Dorian Gray,' the stage adaptation of Wilde's 1891 novel in which she plays all 26 roles. 'Yes, There's definitely an echo,' Snook said with a smile, about her striking (and aristocratic-looking) black suit. 'Oscar would be happy.' Snook said she was enjoying her night off at the gala — conveniently for the many guests from Broadway, theaters are dark on Mondays. 'I'm loving the celebration of beautiful things,' Snook said of her gala experience. There are always first-timers At every Met Gala, there are newbies — and they're often rather starstruck. One of them was model Christian Latchman, 19, wearing a dramatic white ensemble that combined trousers with a long skirt. If he looked familiar, that's because Latchman is the face in the photograph on the cover of the exhibit's massive hardcover catalog. Asked to sum up his feelings about the evening, he said simply: 'Astonishment. That's the word for it.' Also new to the gala was actor Keith Powers, who sat on the sidelines, soaking it in. Was it all intimidating? Overwhelming? 'All of the above,' he said. 'It makes me anxious — and happy, and inspired.' A call to dinner, tuba included Cocktails are fun, but dinner at the Met Gala sounds even more fun — that's where guests get an A-plus musical performance, for one thing. But music also accompanies the call to dinner. This time, it was the New York-based High and Mighty Brass Band who did the honors, snaking through cocktails with drums, trombones, a tuba and trumpets. Then guests headed off — slowly — to dinner, where they feasted on a menu by chef Kwame Onwuachi. Dinner began with papaya piri piri salad, and moved on to creole roasted chicken with a lemon emulsion, and cornbread with honey curry butter and barbecue greens. Dessert? That was a 'cosmic brownie' with powdered sugar doughnut mousse. ___ For more coverage of the 2025 Met Gala, visit:
Yahoo
06-05-2025
- Entertainment
- Yahoo
Inside the Met Gala: Under a petal-filled sky, guests honor Black style, hail a ‘monumental night'
NEW YORK (AP) — 'Well, it took a minute,' said Spike Lee, surveying the glittering Met Gala crowd during cocktail hour through bright orange glasses that matched his New York Knicks cap. 'But we're here now, that's the most important thing." Lee was referring to the fact that for the very first time, the Met Gala was making a point of celebrating Black style and Black designers — something he felt was an overdue milestone, but a very welcome one. 'Long overdue,' Lee repeated. 'But we're here to celebrate. And who knows what's gonna happen because of this event? There's gonna be reverberations around the world." Lee was echoing an excitement that many of the approximately 400 guests — luminaries in sports, music, fashion, film, theater and more — shared as they sipped cocktails or toured the gala's accompanying exhibit, 'Superfine: Tailoring Black Style.' The show is an exploration of Black menswear from the 18th century onward, with dandyism as a unifying theme. Another film director, Baz Luhrmann, was touring the exhibit, designed by curator Monica L. Miller, a Barnard professor who literally wrote the book on dandyism: 'Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity. He, too, mused on the importance of this year's theme. 'Sometimes the subjects are fun, sometimes you go, that's interesting. But this is a subject where you go, why has light not been shone on this before?" Luhrmann said. 'Black sartorial power on culture is so great but how much talk has there been about it?' Thinking of a departed friend For Whoopi Goldberg, the most important person of the evening wasn't actually there. It was her late friend, André Leon Talley, the fashion editor and personality who was so important to Black style, and with whom she'd attended previous galas. Talley, who died in 2022, is honored in the exhibit; there's a caftan he wore, among other objects. And Costume Institute curator Andrew Bolton has said he was an inspiration for the show. 'I think they did him proud,' Goldberg said during cocktails. 'I'm very happy to be here again, but spectacularly happy to see how they took care of him.' Asked what Talley would have thought of the show, she guessed he'd say: "I'm glad you understand.' And she added: 'What better way to honor him?' Goldberg was dressed head to toe — meaning mini-top hat to spats-inspired shoes, to handbag – in Thom Browne. 'He said. 'Will you come?'' Goldberg said of Browne, whose suits, particularly, are hugely popular. 'And I said, when you're done, just put it on me, and I'm good. I feel incredible.' So what is dandyism? It was a favored topic of conversation; every guest had a slightly different way of defining what a dandy is. For director Lee, it was simple: 'Doing your own thing.' For Audra McDonald, it was about 'a sense of reclaiming' one's own identity and worth. The Broadway actor, currently starring in 'Gypsy,' was among the first guests examining the exhibit, along with her husband and fellow actor, Will Swenson. Over at cocktails, the Rev. Al Sharpton was describing dandyism as a form of activism: the silent kind. 'It means to me that even in the midst of being in a socially limited situation, we celebrate. I refuse to submit to just having a menial job. I'm gonna dress up . I'm gonna tip my hat. It's a sense of rebellion without having to speak it.' A crucial sense of timing Sharpton was full of praise for the Met having chosen this moment to honor Black style. 'It comes at a very important time,' he said. "To make a statement of diversity at the highest cultural level — which is the Met Gala — when diversity is under attack by the highest office in the land is more than if I could do a hundred marches. This is a monumental night." Broadway actor Alex Newell agreed. It was the performer's third Met Gala in a row, but this one had a special meaning. 'It's nice to see us represented this way,' Newell said. 'Just when it is needed the most." A flower-filled night sky Once gala guests climb the steps outside and enter the museum's Great Hall, they encounter each year a monumental centerpiece, usually floral. This year, it was hundreds — thousands? — of flower petals suspended from the ceiling, with lighting evoking a starry sky. The petals also hung over the Great Hall staircase, which guests ascended to greet the awaiting receiving line of gala hosts. The petals — made of fabric, truth be told – were meant to symbolize narcissus flowers, and there were also reflecting pools, nodding to the myth of Narcissus. The greeting was not only visual but musical: An orchestra, accompanied by swaying singers, played favorites like Al Green's 'Let's Stay Together' and Stevie Wonder's 'Don't You Worry 'Bout a Thing,' Guests then either proceeded to view the exhibit, or head straight to cocktails in the airy Engelhard Court. Often, they seem to prefer socializing, but this year the exhibit was filled with guests. Honoring Oscar (Wilde, that is) One of the more famous dandies, historically speaking, was Oscar Wilde. And so there was symmetry in the fact that Sarah Snook — the 'Succession' star — was dressed in a way Wilde would have liked. It was certainly intentional. Snook now is appearing on Broadway in 'The Picture of Dorian Gray,' the stage adaptation of Wilde's 1891 novel in which she plays all 26 roles. 'Yes, There's definitely an echo,' Snook said with a smile, about her striking (and aristocratic-looking) black suit. 'Oscar would be happy.' Snook said she was enjoying her night off at the gala — conveniently for the many guests from Broadway, theaters are dark on Mondays. 'I'm loving the celebration of beautiful things,' Snook said of her gala experience. There are always first-timers At every Met Gala, there are newbies — and they're often rather starstruck. One of them was model Christian Latchman, 19, wearing a dramatic white ensemble that combined trousers with a long skirt. If he looked familiar, that's because Latchman is the face in the photograph on the cover of the exhibit's massive hardcover catalog. Asked to sum up his feelings about the evening, he said simply: 'Astonishment. That's the word for it.' Also new to the gala was actor Keith Powers, who sat on the sidelines, soaking it in. Was it all intimidating? Overwhelming? 'All of the above,' he said. 'It makes me anxious — and happy, and inspired.' A call to dinner, tuba included Cocktails are fun, but dinner at the Met Gala sounds even more fun — that's where guests get an A-plus musical performance, for one thing. But music also accompanies the call to dinner. This time, it was the New York-based High and Mighty Brass Band who did the honors, snaking through cocktails with drums, trombones, a tuba and trumpets. Then guests headed off — slowly — to dinner, where they feasted on a menu by chef Kwame Onwuachi. Dinner began with papaya piri piri salad, and moved on to creole roasted chicken with a lemon emulsion, and cornbread with honey curry butter and barbecue greens. Dessert? That was a 'cosmic brownie' with powdered sugar doughnut mousse. ___ For more coverage of the 2025 Met Gala, visit:
San Francisco Chronicle
06-05-2025
- Entertainment
- San Francisco Chronicle
Inside the Met Gala: Under a petal-filled sky, guests honor Black style, hail a ‘monumental night'
NEW YORK (AP) — 'Well, it took a minute,' said Spike Lee, surveying the glittering Met Gala crowd during cocktail hour through bright orange glasses that matched his New York Knicks cap. 'But we're here now, that's the most important thing." Lee was referring to the fact that for the very first time, the Met Gala was making a point of celebrating Black style and Black designers — something he felt was an overdue milestone, but a very welcome one. 'Long overdue,' Lee repeated. 'But we're here to celebrate. And who knows what's gonna happen because of this event? There's gonna be reverberations around the world." Lee was echoing an excitement that many of the approximately 400 guests — luminaries in sports, music, fashion, film, theater and more — shared as they sipped cocktails or toured the gala's accompanying exhibit, 'Superfine: Tailoring Black Style.' The show is an exploration of Black menswear from the 18th century onward, with dandyism as a unifying theme. Another film director, Baz Luhrmann, was touring the exhibit, designed by curator Monica L. Miller, a Barnard professor who literally wrote the book on dandyism: 'Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity. He, too, mused on the importance of this year's theme. 'Sometimes the subjects are fun, sometimes you go, that's interesting. But this is a subject where you go, why has light not been shone on this before?" Luhrmann said. 'Black sartorial power on culture is so great but how much talk has there been about it?' Thinking of a departed friend For Whoopi Goldberg, the most important person of the evening wasn't actually there. It was her late friend, André Leon Talley, the fashion editor and personality who was so important to Black style, and with whom she'd attended previous galas. Talley, who died in 2022, is honored in the exhibit; there's a caftan he wore, among other objects. And Costume Institute curator Andrew Bolton has said he was an inspiration for the show. 'I think they did him proud,' Goldberg said during cocktails. 'I'm very happy to be here again, but spectacularly happy to see how they took care of him.' Asked what Talley would have thought of the show, she guessed he'd say: "I'm glad you understand.' And she added: 'What better way to honor him?' Goldberg was dressed head to toe — meaning mini-top hat to spats-inspired shoes, to handbag – in Thom Browne. 'He said. 'Will you come?'' Goldberg said of Browne, whose suits, particularly, are hugely popular. 'And I said, when you're done, just put it on me, and I'm good. I feel incredible.' So what is dandyism? It was a favored topic of conversation; every guest had a slightly different way of defining what a dandy is. For director Lee, it was simple: 'Doing your own thing.' For Audra McDonald, it was about 'a sense of reclaiming' one's own identity and worth. The Broadway actor, currently starring in 'Gypsy,' was among the first guests examining the exhibit, along with her husband and fellow actor, Will Swenson. Over at cocktails, the Rev. Al Sharpton was describing dandyism as a form of activism: the silent kind. 'It means to me that even in the midst of being in a socially limited situation, we celebrate. I refuse to submit to just having a menial job. I'm gonna dress up . I'm gonna tip my hat. It's a sense of rebellion without having to speak it.' A crucial sense of timing Sharpton was full of praise for the Met having chosen this moment to honor Black style. 'It comes at a very important time,' he said. "To make a statement of diversity at the highest cultural level — which is the Met Gala — when diversity is under attack by the highest office in the land is more than if I could do a hundred marches. This is a monumental night." Broadway actor Alex Newell agreed. It was the performer's third Met Gala in a row, but this one had a special meaning. 'It's nice to see us represented this way,' Newell said. 'Just when it is needed the most." A flower-filled night sky Once gala guests climb the steps outside and enter the museum's Great Hall, they encounter each year a monumental centerpiece, usually floral. This year, it was hundreds — thousands? — of flower petals suspended from the ceiling, with lighting evoking a starry sky. The petals also hung over the Great Hall staircase, which guests ascended to greet the awaiting receiving line of gala hosts. The petals — made of fabric, truth be told – were meant to symbolize narcissus flowers, and there were also reflecting pools, nodding to the myth of Narcissus. The greeting was not only visual but musical: An orchestra, accompanied by swaying singers, played favorites like Al Green's 'Let's Stay Together' and Stevie Wonder's 'Don't You Worry 'Bout a Thing,' Guests then either proceeded to view the exhibit, or head straight to cocktails in the airy Engelhard Court. Often, they seem to prefer socializing, but this year the exhibit was filled with guests. Honoring Oscar (Wilde, that is) One of the more famous dandies, historically speaking, was Oscar Wilde. And so there was symmetry in the fact that Sarah Snook — the 'Succession' star — was dressed in a way Wilde would have liked. It was certainly intentional. Snook now is appearing on Broadway in 'The Picture of Dorian Gray,' the stage adaptation of Wilde's 1891 novel in which she plays all 26 roles. 'Yes, There's definitely an echo,' Snook said with a smile, about her striking (and aristocratic-looking) black suit. 'Oscar would be happy.' Snook said she was enjoying her night off at the gala — conveniently for the many guests from Broadway, theaters are dark on Mondays. 'I'm loving the celebration of beautiful things,' Snook said of her gala experience. There are always first-timers At every Met Gala, there are newbies — and they're often rather starstruck. One of them was model Christian Latchman, 19, wearing a dramatic white ensemble that combined trousers with a long skirt. If he looked familiar, that's because Latchman is the face in the photograph on the cover of the exhibit's massive hardcover catalog. Asked to sum up his feelings about the evening, he said simply: 'Astonishment. That's the word for it.' Also new to the gala was actor Keith Powers, who sat on the sidelines, soaking it in. Was it all intimidating? Overwhelming? 'All of the above,' he said. 'It makes me anxious — and happy, and inspired.' A call to dinner, tuba included Cocktails are fun, but dinner at the Met Gala sounds even more fun — that's where guests get an A-plus musical performance, for one thing. But music also accompanies the call to dinner. This time, it was the New York-based High and Mighty Brass Band who did the honors, snaking through cocktails with drums, trombones, a tuba and trumpets. Then guests headed off — slowly — to dinner, where they feasted on a menu by chef Kwame Onwuachi. Dinner began with papaya piri piri salad, and moved on to creole roasted chicken with a lemon emulsion, and cornbread with honey curry butter and barbecue greens. Dessert? That was a 'cosmic brownie' with powdered sugar doughnut mousse.
Boston Globe
06-05-2025
- Entertainment
- Boston Globe
Inside the Met Gala: Under a petal-filled sky, guests honor Black style, hail a ‘monumental night'
'Long overdue,' Lee repeated. 'But we're here to celebrate. And who knows what's gonna happen because of this event? There's gonna be reverberations around the world.' Lee was echoing an excitement that many of the approximately 400 guests — luminaries in sports, music, fashion, film, theater and more — shared as they sipped cocktails or toured the gala's accompanying exhibit, 'Superfine: Tailoring Black Style.' The show is an exploration of Black menswear from the 18th century onward, with dandyism as a unifying theme. Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up Another film director, Baz Luhrmann, was touring the exhibit, designed by curator Monica L. Miller, a Barnard professor who literally wrote the book on dandyism: 'Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity. He, too, mused on the importance of this year's theme. Advertisement 'Sometimes the subjects are fun, sometimes you go, that's interesting. But this is a subject where you go, why has light not been shone on this before?' Luhrmann said. 'Black sartorial power on culture is so great but how much talk has there been about it?' Thinking of a departed friend Whoopi Goldberg. Evan Agostini/Evan Agostini/Invision/AP For Whoopi Goldberg, the most important person of the evening wasn't actually there. It was her late friend, André Leon Talley, the fashion editor and personality who was so important to Black style, and with whom she'd attended previous galas. Advertisement Talley, who died in 2022, is honored in the exhibit; there's a caftan he wore, among other objects. And Costume Institute curator Andrew Bolton has said he was an inspiration for the show. 'I think they did him proud,' Goldberg said during cocktails. 'I'm very happy to be here again, but spectacularly happy to see how they took care of him.' Asked what Talley would have thought of the show, she guessed he'd say: 'I'm glad you understand.' And she added: 'What better way to honor him?' Goldberg was dressed head to toe — meaning mini-top hat to spats-inspired shoes, to handbag – in Thom Browne. 'He said. 'Will you come?'' Goldberg said of Browne, whose suits, particularly, are hugely popular. 'And I said, when you're done, just put it on me, and I'm good. I feel incredible.' So what is dandyism? Tonya Lewis Lee, left, and Spike Lee. Evan Agostini/Evan Agostini/Invision/AP It was a favored topic of conversation; every guest had a slightly different way of defining what a dandy is. For director Lee, it was simple: 'Doing your own thing.' For Audra McDonald, it was about 'a sense of reclaiming' one's own identity and worth. The Broadway actor, currently starring in 'Gypsy,' was among the first guests examining the exhibit, along with her husband and fellow actor, Will Swenson. Over at cocktails, the Rev. Al Sharpton was describing dandyism as a form of activism: the silent kind. 'It means to me that even in the midst of being in a socially limited situation, we celebrate. I refuse to submit to just having a menial job. I'm gonna dress up . I'm gonna tip my hat. It's a sense of rebellion without having to speak it.' Advertisement A crucial sense of timing Al Sharpton. Evan Agostini/Evan Agostini/Invision/AP Sharpton was full of praise for the Met having chosen this moment to honor Black style. 'It comes at a very important time,' he said. 'To make a statement of diversity at the highest cultural level — which is the Met Gala — when diversity is under attack by the highest office in the land is more than if I could do a hundred marches. This is a monumental night.' Broadway actor Alex Newell agreed. It was the performer's third Met Gala in a row, but this one had a special meaning. 'It's nice to see us represented this way,' Newell said. 'Just when it is needed the most.' A flower-filled night sky Once gala guests climb the steps outside and enter the museum's Great Hall, they encounter each year a monumental centerpiece, usually floral. This year, it was hundreds — thousands? — of flower petals suspended from the ceiling, with lighting evoking a starry sky. The petals also hung over the Great Hall staircase, which guests ascended to greet the awaiting receiving line of gala hosts. The petals — made of fabric, truth be told – were meant to symbolize narcissus flowers, and there were also reflecting pools, nodding to the myth of Narcissus. The greeting was not only visual but musical: An orchestra, accompanied by swaying singers, played favorites like Al Green's 'Let's Stay Together' and Stevie Wonder's 'Don't You Worry 'Bout a Thing,' Guests then either proceeded to view the exhibit, or head straight to cocktails in the airy Engelhard Court. Often, they seem to prefer socializing, but this year the exhibit was filled with guests. Advertisement Honoring Oscar (Wilde, that is) Sarah Snook. Evan Agostini/Evan Agostini/Invision/AP One of the more famous dandies, historically speaking, was Oscar Wilde. And so there was symmetry in the fact that Sarah Snook — the 'Succession' star — was dressed in a way Wilde would have liked. It was certainly intentional. Snook now is appearing on Broadway in 'The Picture of Dorian Gray,' the stage adaptation of Wilde's 1891 novel in which she plays all 26 roles. 'Yes, There's definitely an echo,' Snook said with a smile, about her striking (and aristocratic-looking) black suit. 'Oscar would be happy.' Snook said she was enjoying her night off at the gala — conveniently for the many guests from Broadway, theaters are dark on Mondays. 'I'm loving the celebration of beautiful things,' Snook said of her gala experience. There are always first-timers At every Met Gala, there are newbies — and they're often rather starstruck. One of them was model Christian Latchman, 19, wearing a dramatic white ensemble that combined trousers with a long skirt. If he looked familiar, that's because Latchman is the face in the photograph on the cover of the exhibit's massive hardcover catalog. Asked to sum up his feelings about the evening, he said simply: 'Astonishment. That's the word for it.' Keith Powers. Evan Agostini/Evan Agostini/Invision/AP Also new to the gala was actor Keith Powers, who sat on the sidelines, soaking it in. Was it all intimidating? Overwhelming? 'All of the above,' he said. 'It makes me anxious — and happy, and inspired.' A call to dinner, tuba included Cocktails are fun, but dinner at the Met Gala sounds even more fun — that's where guests get an A-plus musical performance, for one thing. But music also accompanies the call to dinner. This time, it was the New York-based High and Mighty Brass Band who did the honors, snaking through cocktails with drums, trombones, a tuba and trumpets. Advertisement Then guests headed off — slowly — to dinner, where they feasted on a menu by chef Kwame Onwuachi. Dinner began with papaya piri piri salad, and moved on to creole roasted chicken with a lemon emulsion, and cornbread with honey curry butter and barbecue greens. Dessert? That was a 'cosmic brownie' with powdered sugar doughnut mousse.
