Fashion Focus: The Met Gala 

Before Fashion Focus, I wrote an article called ‘Superfine: tailoring black style’ – the Met Gala 2025 theme. It seems fitting that my final article for Fashion Focus would be centred on the Met Gala. Commencing on the 5 May, the Met Gala – the world’s most prestigious fashion event – was received with criticisms, compliments, and confusion.

Before we discuss any outfits in depth, one of the greatest upsets was based on the absence of Wisdom Kaye. An American-Nigerian model, Kaye is well-known as one of the most influential Black content creators in the fashion industry. He previously attended the Met Gala in 2024, and based on the theme, his invitation was expected. Unfortunately, Kaye was not invited to the Met Gala, and this was viewed by many as a misstep. To clarify, Kaye’s attendance was previously secured because TikTok bought a table and invited him; however, this year it appears that no brand considered inviting him, or potentially, he wasn’t an option because he didn’t feature on Wintour’s guest list. In this sense, there’s no clear direction for this criticism. Irrespectively, his attendance would have been greatly appreciated and worked in tandem with the theme’s goal of focusing and celebrating the contributions of black creatives in the fashion industry.

Many viewers have used this title ‘Tailored for You’ to excuse celebrities’ and stylists’ failure to engage directly with the concept of black dandyism

A great deal of criticism was levlled against celebrities who wore gowns to the Met Gala. The finalised theme was ‘Tailored for You’, providing designers and celebrities with a broader concept in which they can situate their garment to align with the theme. Many viewers have used this title ‘Tailored for You’ to excuse celebrities’ and stylists’ failure to engage directly with the concept of black dandyism. As I stated in my piece discussing the exhibit, ‘we should be witnessing women in menswear, as opposed to the continuous dominance of gowns.’ The theme is a nod to the exhibit’s focus on suiting and menswear, an exhibition which doesn’t display any dresses or gowns. Therefore, many of the gowns featured at the Met Gala, more specifically the gowns that lacked suited elements or historical references, in my opinion, should be omitted from the discussion.

There are a few exceptions. Demi Moore in custom Thom Browne is one of them. Moore sported a sculptural black and white dress inspired by a necktie design. Resembling a necktie, a fundamental part of the tailored suit, the ensemble, despite being a gown, remained intrinsically linked with the theme and the exhibit.

All these ensembles, as well as other LV ensembles sported by Sabrina Carpenter, Jeremy Allen White, and Pusha T, were visually interesting, theme-inspired, well-executed garments

Thom Browne, in particular, was one of the fashion houses that generally excelled in this theme. Notably, Janelle Monae presented a transformative garment, honouring the past, present, and the future. In Thom Browne x Paul Tazewell, Monae arrived at the Met Gala in an oversized trompe l’oeil suit cape, revealing a deconstructed bicolour sport coat and skirt.

Besides Thom Browne, Louis Vuitton was also successful at the Met Gala. The successful looks of LV were found on Pharrell, Zendaya, and Doechii. Pharrell, LV’s Men’s Creative Director and designer of LV’s custom outfits for the Met Gala, wore a pearl-latticed, pinstripe jacket. Zendaya, a ‘House Ambassador’, sported a modern adaptation of the 1980’s power suit, paired with a fedora-inspired hat. Doechii, a ‘Friend of the House’, wore a bespoke ensemble inspired by the 18^th century wardrobe of Afro-Caribbean fencing master Julius Soubise. All these ensembles, as well as other LV ensembles sported by Sabrina Carpenter, Jeremy Allen White, and Pusha T, were visually interesting, theme-inspired, well-executed garments.

Ultimately, the strongest garment was represented by Teyana Taylor. The American singer-songwriter and actress attended in a Marc Jacobs pinstripe three-piece suit. The outfit was completely harmonious and composed of black and crimson, designed in collaboration with Oscar-winning costume designer Ruth E. Carter. Sharp elements with exaggerated shoulders were balanced with the softness of the cascading train. The sculpted waistcoat was paired with wide-legged trousers. A satin lining tempered the velvet fabric. The ensemble was laced with intention, celebrating the origins of dandyism and presenting it beautifully.