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Yet for Flicker, opening her spacious and beautifully appointed home to the campaign felt directly in keeping with Mamdani’s political message: “How can you have all this and not share it?” “Superfine: Tailoring Black Style” hasn’t yet opened, but already a sense of importance, pride, and triumph—quite apart from the Met Gala 2025 red carpet—are attached to this exhibition, which was a long time coming. It’s the first show at the Costume Institute to deal directly with race alongside gender, class, and sexuality, and only the second ever devoted to menswear. “Superfine” was organized by head curator Andrew Bolton with guest curator Monica Miller, professor and chair of Africana Studies at Barnard College and Columbia University and author of Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity, a prizewinning 2009 book. The academic text provided the initial framework for the exhibition, which examines more than 300 years of Black style and identity through the figure of the dandy. Often male, the dandy is a person who is exceedingly careful and deliberate about their appearance. Mindful, you might say, but extra in place of demure. For Black dandies, there was/is much more at stake—including power and agency—than mere vanity. In fact, dressing well, or “styling out,” might fall under the category of nonviolent resistance.Officials I Love Matthew Stafford Heart Los Angeles Rams Shirt
For many of us, counteraction is the mode of the moment; it was the energy that propelled a significant number of the fall 2025 collections. It is difficult to shake the feeling that “Superfine”—which makes a compelling argument for syncretism by demonstrating how Black dandies created a sum greater than their parts, using elements from African, American, and European sources—arrives just when we need it most. With its positive role models, the show counters the toxicity of the expanding and exclusionary “manosphere.” Though almost eerily timely, the political topicality of the exhibition was not deliberate, as the show was a year and a half in the planning. “For me, the history would’ve been important and interesting no matter what and when,” explains Miller. “When Andrew first called me about this, I thought to myself, Why now? And he had a good answer…that it really was about the conversations that he’d been having during the “In America” shows, and André [Leon Talley]’s passing, and then also thinking about what the Met Collection could actually sustain if it were to do a show that was more centered on Blackness and race.”
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