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On the fashion front, the industry has been experiencing a menswear renaissance, and, says Miller, “the conversation about Black style has also been more and more and more and more acknowledged as a driver—this is Virgil [Abloh]—of how fashion works in terms of references and transformations and all that.” The world has changed much indeed in the 20-plus years since Bolton curated “Bravehearts: Men in Skirts” at the Costume Institute. That moment, wrote WWD’s Eric Wilson in 2003, was “the era of metrosexuality—when the discourse on gender roles is dominated by Kyan, Carson, and Jai from Queer Eye for the Straight Guy.” Fast -forward to today, and RuPaul’s Drag Race is a major influence on self-creation and presentation, both of which are close to dandies’ hearts as well. While “Superfine,” like Drag Race, considers exaggeration, it is just one aspect of dandyism. There are “other elements of the exhibition where dandyism is much more about disguise, masquerade,” notes Miller. “There’s a range of performativity that’s very much related to dandyism in general, but then also particularly when it’s racialized.” Similarly, there’s a range of masculinity that dandies are continually expanding. A$AP Rocky in a headscarf or pearls is but one example. And, as Miller has said in a Met video, “Once you know about it, you see Black dandyism everywhere and in different modes.”Officials I Love Kyren Williams Heart Los Angeles Rams Shirt
“Superfine” progresses from the 18th century onward, but as with all things dandiacal, the chronology is “slippery.” One of the first pieces on display is a 19th-century livery of magenta velvet and gold trim that would have been worn by what Miller terms a “luxury slave,” and it harks back to the lavishness of the court of the Sun King. Turning to the right, on one of artist Torkwase Dyson’s raised “hyperspaces,” which somewhat resembles a proscenium arch, is a black military-inspired suit trimmed with gold by Olivier Rousteing for Balmain next to a dashing officer-style coat that belonged to André Leon Talley. The placement, it was explained, is deliberate and establishes the late Vogue editor, who also worked alongside Diana Vreeland at the Costume Institute, as an ancestor figure.
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