If you’re reading this, you’ve probably been on tenterhooks for days, prepping, reading, trying to guess who and what, and following dozens of accounts across every social media platform.
However, I’m still going to begin with a little context before we dive into this year’s shenanigans.
The extraordinary publicist Eleanor Lambert first initiated a fundraising dinner for the Metropolitan Museum of Art’s costume collection, then called the Costume Institute, back in 1948. Until 1971, the event was one of many elegant charity affairs in New York, held at various glittering venues like the Waldorf Astoria.
In 1971, when Diana Vreeland became a consultant—a title that hardly reflects the magnitude of her impact—the event took a major leap in style and significance. Jacqueline Kennedy was the first guest of honour, and from then on, the event grew increasingly glamorous. It moved to the museum itself, with thematic exhibitions introduced each year, attracting a more global and fashionable crowd. At the time, the event took place in December.
When Anna Wintour took over in 1995, she elevated the Met Gala into the fashion stratosphere. It became a cult event—even to non-fashion audiences—renowned for its extravagance, exclusivity, and ever-changing rules. The costs are legendary, the final fundraising figures astonishing. The exhibitions the Gala launches attract phenomenal attendance, like the Alexander McQueen show, which later travelled to the V&A in London. The first Monday in May is now not just a date but a cultural institution—and also the title of a 2016 documentary directed by Andrew Rossi, which offered a behind-the-scenes look at the 2015 exhibition China: Through the Looking Glass.
It’s worth quoting the current Wikipedia definition of the event, especially as “haute couture” technically applies only to members of the French Federation—many Met Gala outfits don’t meet that strict definition:
“The Met Gala, formally called the Costume Institute Benefit, is the annual haute couture fundraising festival held for the benefit of the Metropolitan Museum of Art’s Costume Institute in Manhattan. The Met Gala is popularly regarded as the world’s most prestigious and glamorous fashion event. Attendees are given the opportunity to express themselves through fashion, often producing elaborate and highly publicised outfits inspired by the evening’s theme and broader cultural context. The event is known as ‘fashion’s biggest night,’ where ‘haute couture intersects with history to create the ultimate cultural moment—all in the name of art.’ An invitation is highly sought after. Personalities considered culturally relevant across fashion, film, TV, music, theatre, business, sports, social media, and politics are invited to attend the Met Gala, which is organised by Vogue magazine.”
This year marks only the second time the exhibition at the heart of the event has focused solely on menswear. In 2003, Andrew Bolton, then assistant curator of the Costume Institute, curated Braveheart: Men in Skirts. Now, in 2025, he returns as the curator-in-chief of the Anna Wintour Costume Center, steering this year’s bold and focused exhibition.
The theme is Superfine: Tailoring Black Style, celebrating Black fashion heritage, dandyism, and identity. One of the key inspirations is Monica L. Miller’s 2009 book Slaves to Fashion. Miller is also co-curator of the exhibition. The late menswear designer Waraire Boswell is honoured in the exhibition’s overall concept. The Gala’s specific theme is Tailored for You, inviting guests to reinterpret classic menswear and tailoring for today.
The 2025 co-chairs are actor Colman Domingo, F1 driver Lewis Hamilton, rapper A$AP Rocky, producer Pharrell Williams, and longtime curator Anna Wintour. LeBron James serves as the honorary chair.
And now, finally, onto the event—Monday, May 5, 2025.
If you’ve been frantically scrolling through your feeds, you already know who dominated the spotlight—centre-stage stars and camera madness. The louder, bolder, and busier the look, the more likely it ruled social media. But that’s just one side of the story.
This year’s serious theme, and the academic work that inspired it, encouraged many attendees to approach their outfits not just as style challenges but as ways to honour and respect Black fashion history. Interpreting the nuances of menswear proved far more complex than discussing an extroverted woman’s gown. Despite appearances from icons like Diana Ross and Madonna, this was, for all the right reasons, a night for menswear—especially tailoring, with all its subtlety and structure.
At the exhibition preview, Colman Domingo, dressed immaculately in Ozwald Boateng, said:
“I stand here representing so many generations of men who have liberated themselves through style. I stand here representing my fellow Met Gala co-chairs—A$AP Rocky, Pharrell Williams, Lewis Hamilton, LeBron James—and I stand on the shoulders of André Leon Talley, Bayard Rustin, Dapper Dan, Ozwald Boateng, Sidney Poitier, Prince, Harry Belafonte, James Baldwin, and so many others.”
The first fashion story to emerge was a dominant use of black as colour, texture, and tone. Designers layered fabric, juxtaposed softness with structure, and used white as highlight, accent, or subtle lining. Every element of tailoring was showcased—cuffs, collar set, the shape of lapels, depth of the armhole, bow ties, cloaks, button placement, jacket crop, silhouette. These weren’t showy looks; they were refined statements. Labels like Balenciaga, Valentino, and Schiaparelli also featured black ball gowns among the sequins and shimmer.
Next came black and white, using sharp graphics drawn from tuxedo and formalwear traditions, blending masculine and feminine elements, structure and flow. Dandy canes, glittering lapel brooches, oversized boutonnières, and nods to Edwardian and Victorian riding habits were everywhere. Many looks quietly referenced archival photos and iconic Black style pioneers without direct citation.
Usher, Stormzy, Michael Ariano, and LaQuan Smith delivered standout ensembles, and Haider Ackermann at Tom Ford understood the brief to perfection.
Then came a palette shift—all-white, cream, and ivory looks showcased in sweeping, tailored elegance. Lewis Hamilton in Wales Bonner embodied this theme flawlessly.
Another key story was the sheen of brocades and pinstripes—classic but reimagined. Brocade ruled on stars like Omar Sy and Henry Golding in Boateng. For pinstripes, Tramell Tillman in Thom Browne was a standout.
Finally, the “one-off” or concept-driven looks paid homage to specific cultural reference points. Maluma, dressed in a rich floral brocade suit by Willy Chavarria, honoured Pachucos and zoot suits—a complete triumph. Diljit Dosanjh, dressed by Prabal Gurung as a modern Maharaja, paid tribute to his Punjabi roots. Vogue India noted:
“Black Dandyism is about rewriting the codes of masculinity and elegance through personal style. Dosanjh didn’t just meet that brief, he magnified it through a distinctly South Asian lens… Heritage lined up, diamonds turned up, and not a hair—or jewel—was out of place.”
Brian Tyree Henry, Stefon Diggs, and Edvin Thompson embodied elegance, combining razor-sharp suits with dramatic sweeping outerwear—more robes than coats—echoing ceremonial or regal inspirations. The contrast between precise tailoring and voluminous outer layers offered a fresh take on masculine dressing.
Lorde wore a grey top and skirt inspired by a man’s cummerbund, with a matching blazer by Thom Browne. Nicole Kidman wore Balenciaga, her gown tied with “black tie” bows. And Ilyasah Shabazz stunned in monochrome Fear of God, merging couture and tailoring seamlessly.
