The gala of metal fashion surrenders to the power of the African dandis -american | People

From the natural and intrinsic elegance of the blacks of the United States, anyone who walks through Harlem on Sunday morning, or any holiday evening can be attested. Apart from the dimensions or colors of clothing, sometimes impossible – question, lavender, green lime -, the parade of elegant through its roads invites you to think that there is something intrinsic in the race: That Black dandism – producers, the gesture, the bearing – which this year constitutes the theme of the exhibition of the Institute of the Metropolitan Museum in New York (MET) e of his gala homonymous. SUPERFINE: Black style adaptation (Superfine: black -style tailoring), the title of this call revolves around a style that combines the creative and well -made male clothing show and the attitude of the one who brings it.

As traditional every first Monday, the fashion super Bowl so called, The red carpet – actually blue – more planetaryWith the permission of the Oscar, it highlighted the contributions, not always appreciated, of black culture in the way the contemporary dress. Gala’s coorting are perfect examples AllureThe French word that defines the wake that someone leaves: the actor Colman Domingo, Formula 1 Lewis Hamilton pilot, The $ ap Rocky artistThe Singer -Songwriter and rapper Pharrell Williams and, of course, Anna Wintour, factotum of the costume institute. Basketball Lebron James star, Honorary Canfrerion, refused his assistance for an injury.

It was a black and white gala, with metal brushstrokes and some dramatic touches in red, such as those of Teyana Taylor or Edvin Thompson. The Elbiti of Hamilton, of immaculate white, including the cap, and Sunday, with the blue cloak and the chapel collapsed in silver under which it was a fun geometric tailor, were among the first to arrive, to be heparated immediately by the apparition, in a virgin white dress, Zendaya, with a large wing hat. Diana Ross, also Bianca, had embroidered in the dress the names of her children and grandchildren. It was the same color that another of the gala’s coanfitations, Pharrell, with 15,000 pearls and 400 hours of work for his jacket.

Apart from the tribute of Gigi Hadid Dorado to Josephine Baker, the first African -American who starred in a film and counted the strip of color, Louis Vuitton, who copatrocina the gala and for which Pharrell Designs was the most seen sign. Lisa, Sabrina, Doechii or Jeremy Allen White opted for Firm’s projects, but Chanel’s creations (Jennie Kim, reinterpreting the male label) or Sarah Burton for Givenchy (Cynthia Erivo) were also seen. Many of the participants posed with the creators of their clothes, a tradition in this gala: Megan Thee Stallion with Michael Kors, Wool of Rey with Alessandro Michele (now in Valentino) and Doja Cat with Marc Jacobs. Even the Spanish Rosalía, together with Olivier Rousteing, of Balmain.

Men and women played with the formulation of the tailoring suit in all possible variants, with Levita, with whales in the hip or with Polison, such as the architecture in the black and white model of Thom Browne who wore Zoe Saldaña. Bicolor was also the word of honor in strips, surmounted by a curious corolla similar to Halo, by Demi Moore. And the dress of one of the surprises of the night, the former vice -president Kamala Harris (even if the walk and the spotlight of the carpet), the Off-white brand brand, created by the missing Obloh Virgilia. “Art has always had a significant impact not only on culture, but also on our policies and political,” he said Vogue The former democratic presidential candidate.

Bad Bunny, brown dress, white shoes and a large travel bag, wearing a typical port of puero Rico called Türkiye, personalized. His suit, from Prada, required a couple of months of work. Another great Latin representation, Rosalia, dazzled with a second dress for white skin. “All inspiration from Olivier (Rousteing). They are his mannequin.” The designer, at his side, explained: “Inspiration is the made to measureThat is, the made to measure and the mannequin where everything happens. It is the principle of creation, which is the mannequin. “The creator wore a sewing machine like a bag, a mischievous similar to Moore, with the puppy -shaped accessory.

In front of an elegant Anne Hathaway, with a black and gray striped skirt and a white shirt inspired by André Leon Talley, or Dua Lipa, in rigorous black and in a certain style of twenty years, highlighted the sugar cotton rose from the Shakira dress or the dressed in Crema Madonna Sbiadita, pure in rest.

First exhibition of black creators

This year is the first exhibition of the Suit Institute focused exclusively on black designers and the first in over 20 years dedicated to men’s fashion. Unlike previous champions, dedicated to Famous designers like Karl Lagerfeld or Charles JamesThis will allow you to know The work of new creators While the Togolese transplanted to Brooklyn Jacques Agboly, whose seminar has not yet carried out for five years, and this will hang two projects in the sample, which was presented on the morning of this Monday in New York and will open its doors to the public this Saturday.

In the presentation of the exhibition, in the morning, dressed with a false farin and a blazer Magenta, Domingo said that his elegance is due to “the inspiration of three gentlemen Close: My stepfather, my biological father and my brother. “ They are, like the actor, the new owners of the stylewho shook an ecosystem in which birds and birds reigned, and who give priority to elegance, tailoring and attitude, breaking the uniformity of the canons and even genres: even women who embrace the style, like the artist Janelle Monáe – who played with red at the gala – can be dandis. Because, as Domingo recalled in the presentation to the press, “God created blacks and blacks created the style”.

The theme of the champion and the gala is inspired by the book by Monica L. Miller Fashionable slaves: black dandyism and style of black diasporic identity (Fashion slave: black dandism and style of the identity of the black diaspora), which documented the appearance and evolution of the black dandis. “It is very exciting to show the projects of young and emerging designers,” says Miller, guest commissioner and professor of African studies at Barnard College. The exhibition covers the black style for several centuries, but the conductive thread is the way the designers have expressed it ethos Throughout history, the aspiration of “above all dressed in an elegant way” and, at the same time, strongly occupy a public space that has been historically marginalized.

Hours later, in a fine and persistent rain that crossed the water until the hundreds of curious gathered in front of the museum, the curator described the “extraordinary, surreal and fantastic” parade “. “I never imagined something like that when I wrote the book,” he said. “I am happy, curious and inspired, I am very grateful,” he added, observing that the gala revolves around the celebration and reflection.

The sample It is divided into 12 sections and begins with two books used by the ancient slaves, until they reach contemporary pieces, some of which establish a dialogue with geography and history: for example, the silk set embroidered with Crystals and Cauri shells, traditionally used as a currency in Africa, of the British designer Grace Wales Bonner. There is no lack of variations on two modern classics, the Jean and the suit, and not a section dedicated to the costumes on the basis of which the fugitive slaves were hidden.

The most contemporary section carries out gender roles, with jackets cut in unequivocal male on female mannequins. Through garments, accessories, paintings, photographs and decorative arts, from the 18th century to the present day, the exhibition travels through the history of the United States of slavery to abolitionism and reflects the beginnings of an average and high black class in the country. A group of racist cartoons in a showcase contrasts with the photographs of Epitome of Dandismo Como Web of Wood Or the elegant activist Frederick Douglass.

The 2025 gala collected the record figure of 31 million dollars, according to Max Hollein, general manager of Met, being the first time that the collection of funds for the museum’s Siding Institute exceeds 30 million barriers (and well above the 26 collections last year). In a reading between the lines, the commitment of the MET also contrasts with the efforts of the administration of the republican Donald Trump to eliminate the mentions of the breed, sexuality or gender of schools, artistic programs and labor policies; The criteria or policies so called OFI (acronym for diversity, equity and inclusion).