Amidst the constant flashing lights from photographers’ cameras on the first Monday night in May, it’s easy to forget that the Met Gala is not just a lavish gala with expensive outfits, but also the opening ceremony for an art exhibition.
by Phương Uyên
This year, the event kicks off “Superfine: Tailoring Black Style,” an exhibition organized by the Metropolitan Museum of Art’s Costume Institute that celebrates the Black Dandy’s 300-year history. The exhibition delves into how dandyism – once a form of dress imposed on enslaved people – was transformed by black artists into a symbol of autonomy and identity. From classic tweed three-piece suits, vibrant disco outfits, to the luxurious logo-printed leather jacket – the more than 200 objects on display tell the story of how “Black Dandies “ used fashion as an aesthetic and strategic weapon. “Dandyism is more than just clothing, accessories, or appearance,” said Monica L. Miller, the exhibition’s guest curator and professor of African American studies at Barnard College. “It is art that uses these elements strategically, at pivotal political moments, and tied to specific cultural intersections.” Her book Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity (2009) was the main inspiration for the exhibition. To bring the project to life, she reached out to historical societies, museums, and private collections to trace the Black Dandy ‘s legacy in historical landmarks. During a talk in the basement of the museum ahead of the opening on May 10, she selected seven representative artifacts to analyze in depth.
1940s – The Zoot Suit
The striped navy twill suit is a classic example of the Zoot Suit – a fashion trend that flourished from the late 1930s to the early 1940s. It featured sharp shoulders, a long coat without a slit in the back, wide lapels, and flared trousers that reached the ankle. According to Professor Miller, the costume originated in the dance floors of Harlem, and was considered “rebellious” amid the fabric shortages of World War II. It was quickly adopted by jazz musicians, Malcolm X, and black, Mexican, and Latino youth in major cities. It culminated in the Zoot Suit Riots of 1943, when American soldiers attacked Zoot Suit wearers in Los Angeles. “It was a costume that was both a way of uniting the community and a way of celebrating individual identity. The unique socio-political circumstances of the time made it a symbol of defiance and resistance,” she shared. “Many people believe, and are taught, that slavery takes one form, but in reality it takes many forms. The garment not only marks the wearer as property, but also symbolizes conspicuous consumption.”
1840 – Matching vest and waistcoat
This plum velvet coat and matching waistcoat belonged to an enslaved man in Maryland in the 1840s. According to Professor Miller, the shape of the outfit was influenced by European fashion from the previous century – associated with the image of “luxury slaves” who were elaborately dressed to honor the wealth of their owners. “The extravagance sometimes hides the brutality within,” she said. The coat is decorated with galloon ribbons-a far cry from the more modest clothing typically associated with slavery. “Many people believe, and are taught, that slavery has one form, but in fact it has many shades. The garment marks the wearer as property, and it also represents the class of the owner.”
1990 and 2004 – André Leon Talley’s Luggage
Fashion editor André Leon Talley once owned more than 50 Louis Vuitton suitcases – a symbol of his success and status in an industry where he was the only black man. The monogrammed suitcases were not only a sign of luxury, but also a “shield of protection” in a prejudiced environment. “What do you need to protect yourself in that world?” she asked. “These accessories are touching in their own way.” The curators have reimagined Talley (who died in 2022) in his favorite Morty Sills vest and oversized caftan. The suitcases trace his journey from the Jim Crow-era South to the height of fashion, reflecting the strategic style he pursued throughout his life.
1980 – Sylvester Sequin Jacket
“Dandyism is a performance act-and it always seems to have a soundtrack,” says Miller, as he approaches a glittering jacket embroidered with clear plastic sequins that once belonged to disco pioneer Sylvester. The black-and-white, wavy-striped jacket, designed by Pat Campano-who also made stage costumes for The Supremes-has wide shoulders reminiscent of a zoot suit , but a color palette more like a tuxedo. Created in the context of the feminization of menswear in the 70s and 80s, the shirt was a statement of freedom of expression – especially for the LGBTQ community of color in the wake of the Black Power and sexual liberation movements.
1987 – Dapper Dan Leather Jacket
The mink-lined leather jacket designed for Jam Master Jay (Run-DMC) is one of Dapper Dan’s “knockups”-one-off designs that use luxury brand symbols. By “appropriating” traditional symbols of wealth like the Louis Vuitton monogram, Dapper Dan “transformed them into something that was both functional and cool for people of color,” Miller said.
In 1992, he was forced to close his Harlem store on 125th Street-which had catered to some of the biggest hip-hop stars of the time-after being sued by Fendi for copyright infringement. But he continued to collaborate with high-end fashion brands, opening a design studio with Gucci in Harlem-a tacit acknowledgement by the fashion industry that it had borrowed heavily from black street style.
1855 – Portrait of Frederick Douglass
Abolitionist and writer Frederick Douglass often wore his own clothes for portraits, and he posed for them a lot. As the most photographed person in 19th-century America, he understood that “you need to have a certain image to make people listen,” says Miller. In this daguerreotype taken by an unknown photographer around 1855, Douglass looks directly into the camera, wearing a double-breasted black suit and a stiff-collared shirt. In lectures such as “Pictures and Progress,” he argued that photography was a powerful tool for combating racist images of black people. “From a need, a strategy, and a personal passion, he has a very deep insight into the power of images,” Professor Miller commented.
1980 – Jeffrey Banks’ tweed suit and jacket
This brown-gray double-breasted suit was designed by Jeffrey Banks after he founded his own label in 1977, following stints at Ralph Lauren and Calvin Klein.
True to the spirit of “classic with a twist,” the soft-cut, checkered suit paired with a bold striped jacket is displayed as a symbol of pride and protection in an environment that is not friendly to men of color. In discussions with Professor Miller and the Costume Institute curators, many shared that the suit is “a way for them to achieve what WEB Du Bois once said in a novel: to be treated the way they dress.”