Met Gala 2025
When the Theme Falls Short:
How the 2025 Met Gala Struggled to Embody Black Style
I approached this year's Met Gala with cautious anticipation. The Met Gala 2025 theme, "Superfine: Tailoring Black Style," came with a dress code as ambiguous as it was personal -“Tailored for You.” The concept was meant to evoke individuality and narrative. But for many in the Black fashion community, the expectation was that this would also be a moment of homage, an evening to honor and elevate Black style in all its multifaceted brilliance. With Black creatives holding more influence than ever in fashion and culture, this felt like a rare opportunity to witness that power, beauty, and vision reflected on fashion’s grandest stage.
And yet, as the blue carpet unraveled, so too did the promise of something transformative. The concept of “tailored for you” - the evening’s dress code felt more like a loophole than an invitation to honor Black fashion history. For an event that raised a record-breaking $31 million in a single night, the representation of Black culture was either muted, misunderstood, or misrepresented altogether.
This blog post isn’t about tearing down the Met Gala or dismissing the brilliance of those who did show up and show out. It's about acknowledging the full picture. We celebrate the historic moment that saw Black creatives hold visible leadership roles - co-hosting, curating, and contributing to the vision of the night. That alone is a powerful win, and it deserves to be recognized. Still, this post is about confronting the discomfort of missed opportunity. It’s about asking how the most influential night in fashion - under the banner of Black style - still managed to sidestep the vibrant, nuanced, and radical legacy it claimed to honor.
Where Was the Color?
Let’s start with the most obvious visual cue that something was off: the absence of color. Not metaphorical color - literal color. For a theme that implied celebration of Black style in its many incarnations - from zoot suits to hip-hop tailoring, from Ankara prints to Harlem high fashion - the Met Gala’s color palette looked like a black-and-white photocopy of what could have been a Technicolor dream. It was sartorial grayscale-nightmare.
Despite the historical significance of Black fashion movements known for their boldness - like the jewel-toned silks of 1970s blaxploitation pimps, the monogrammed trenches of 1980s MCM streetwear, or the kaleidoscopic energy of 1990s hip-hop couture, most guests played it safe. Nearly everyone arrived in black, white, gray, or eggshell.
Of course, there were some visual standouts. Demi Moore’s oversized Thom Browne tie dress was witty, albeit still black and white. Doechii’s Louis Vuitton ensemble was youthful, tailored, and precise-a rare moment of modern interpretation done well. Jodie Turner-Smith looked queenly in Burberry, and Angela Bassett’s custom blue and black velvet waistcoat ensemble was a standout. But for every creative risk, there were three missed opportunities.
What I was yearning for-and I believe many were-was a sartorial love letter to the spectrum of Black expression. The vibrancy of West African prints, the asymmetry of deconstruction, the glitter and excess of 1980s hip-hop. I wanted drama, I wanted joy, I wanted meaningful excess.
But instead, I saw three celebrities-Zendaya, Anna Sawai, and Jasmine Tookes-arrive in nearly identical silhouettes (in what world?). I saw a sea of neutral tones masquerading as “timelessness,” when in truth they felt like subduing. And as much as I respect brands like Burberry and Dior, it was disheartening that their interpretation of the theme centered more on couture minimalism than Black style’s maximalist imagination.
Even white attendees seemed unsure. In an interview with Lala Anthony, Nicole Kidman admitted she sought direct clarification from Anna Wintour about the theme. The reply? “Wear something tailored for you.” A sentiment so broad, so noncommittal, that it begged the question-did the event ever intend to fully center Black style at all?
The Power of Absence: What We Didn’t See on the Carpet
My designs/ Ideas - The 2025 Met Gala - (Created With AIFashionGram)
For a night that positioned itself adjacent to Black style, there was a glaring absence of context, depth, and historical reverence. Where were the bold nods to hip-hop’s golden era-those sartorial giants like Big Daddy Kane, Rakim, Heavy D, and Slick Rick who made fashion and bravado inseparable? Where were the lush velvets and extravagant tailoring reminiscent of blaxploitation icons whose sense of style was, if nothing else, a protest?
The 1980s and 90s offered an endless archive of reference points: the MCM monogram era, Dapper Dan’s remix culture, Kangol hats, rope chains, shearling trenches, even Karl Kani suits. This wasn’t just nostalgia-it was a missed moment to reflect the ingenuity of Black fashion without commercial constraint.
And yet, what we got felt filtered, watered down, afraid to offend or overshoot. Even our white counterparts-perhaps nervous about the optics of cultural appropriation-largely avoided bold statements altogether. One can argue that nuance is hard to capture in couture, but silence speaks volumes too. And this year, the silence was stylistic.
Perhaps the confusion stemmed from the ambiguity around the theme versus the dress code. Public interpretations varied: was this about celebrating Black fashion, tailoring, or both? The result was a kind of limbo-designers and celebrities unsure whether to lean into homage or play it safe. In the absence of a clear, unifying vision, the message got lost. And that loss felt personal.
The Best-Dressed, and Why They Mattered
While many attendees opted for cautious minimalism, a handful of visionaries arrived in garments that honored the spirit of innovation, narrative, and cultural lineage. These were the artists and muses who understood that fashion is not just fabric-it is language, legacy, and liberation.
Angela Bassett looked phenomenal in a custom Burberry velvet tuxedo. The mix of blue and black was sharp, regal, and refreshing-a standout against the night’s sea of neutrals. It was clean, commanding, and didn’t need gimmicks. Angela knows how to wear clothes without letting them wear her, and this was a masterclass in that.
Doechii in Louis Vuitton was playful, sharp, and original. The structure was clean, and the details gave just enough edge. Critics may have tried to knock the silhouette, but it was giving modern, editorial, and true to her. It was one of the few looks that actually felt like it understood the assignment-fun, bold, and intentional.
Jodie Turner-Smith, adorned in Burberry, delivered a look that blended quiet strength with undeniable glamour. Her choice felt like a homage to Caribbean regal traditions-dignified, statuesque, and untouched. My brother-in-law dubbed her our modern day Grace Jones.
Demi Moore’s Thom Browne moment-an architectural dress shaped like an oversized necktie-was a rare instance of wit and commentary. Though black and white, it transcended color through construction, evoking themes of masculinity, irony, and historical references to men’s suiting as armor.
André 3000 reminded us why he’s in a category all his own. Though some online critics labeled his look “too camp,” the truth is that André has always operated in the realm of intentional eccentricity. His styling wasn’t just about aesthetic-it was cultural storytelling layered with humor, rebellion, and avant-garde polish. In a night that largely lacked imaginative risk, his presence felt like a necessary jolt.
And let’s not forget Angela Reese in Thom Browne-an inspired pairing of Gen Z athletic confidence and a little editorial polish (nice to see her fashion footprint evolve). Or Quinta Brunson in Sergio Hudson, who channeled structured sophistication and playful glamour simultaneously. Or even LaKeith Stanfield, resplendent in Ferragamo, blending mystique and masculinity with grace.
What united these standouts wasn’t just what they wore; it was why they wore it. Their looks told stories and centered Black expression in a way that felt natural - not borrowed for one night.
Reviving the Legacy: The Case for a New Ebony Fashion Fair
If there’s one takeaway from this year’s Met Gala, it’s this: expecting traditional institutions to tell our stories in full is ill-judged. The Met raised $31 million in one night. Impressive. But the historic Ebony Fashion Fair, which ran from 1958 to 2009, raised $55 million across five decades. Imagine what Ebony Fashion Fair would be if it had today’s visibility, reach, and cultural capital.
Many of us remember those Ebony Fashion Fair shows as more than runway events-they were communal, aspirational, and affirming. They spotlighted Black models, showcased Black designers, and centered Black beauty at a time when the industry refused to. As someone who attended one of the last Fairs in 2005, sponsored by Zeta Phi Beta Sorority, Inc., I’ve often reflected on how far we’ve come and what we’ve left behind.
Now feels like the perfect time to revive that spirit. What if we launched an annual, self-funded, culturally intentional fashion showcase rooted in Black creativity and sustainable values? A space where we’re not just represented, but where we lead-creatively, economically, and institutionally. A place where every dollar raised goes back to HBCUs, creative youth programs, and sustainable fashion communities.
We’ve seen what’s possible. We’ve seen that we don’t need $7 million to put on a show-we need vision, collaboration, and purpose.
Fashion as Language, Fashion as Power
My relationship with clothing has always been personal. It’s intimate. My wardrobe is an archive of my growth, my curiosity, my resistance. I dress for my environment, for my emotion, sometimes even for my imagination. I don’t see clothes as just garments-they are tools. They speak before I do. They linger after I’ve gone. They build bridges between me and the world.
That’s why I care so deeply about how we use fashion to tell our stories. The clothes we wear are cultural artifacts. They are also invitations-for others to see us, hear us, and sometimes, to join us.
I know now that we don’t need a Met Gala moment to make impact. We don’t need validation from fashion’s oldest gatekeepers. We have our own platforms, our own stages, and our own voices.
And that’s why I’ve chosen to take FORWHY in a new direction. Opening the site to the public was a leap, and yes, some of the feedback I received gave me pause. But I believe in growth. I believe in building bridges without compromising our values. I believe sustainable fashion isn’t just about garments-it’s about how we choose to live.
So here’s the invitation: join us. Whether you’re new to sustainable fashion or have been in this space for years, there’s room for you here. Room to learn, room to grow, room to create.
Because style doesn’t start at the Met Gala. It starts at home.
Cinema as Couture: What Sinners Reminded Me About Storytelling
This past week, I had the chance to see Sinners, and it’s been a long time since I’ve watched a film that fully pulled me into a world-one that communicated something profound through every frame, sound, and stitch. There’s a particular scene where music transcends time, and it captured something that fashion rarely gets to say out loud: that Black stories are eternal. They echo. They evolve. They don’t need to explain themselves to be powerful.
At the film’s close, when Michael B. Jordan appears in his Coogi sweater-an iconic nod to the ’90s-there was a moment of deep recognition. Not nostalgia, but memory as culture. The storytelling was seamless: from the costumes to the cinematography to the rhythm of the dialogue, it was all intentional, and masterfully done.
And that’s what I think fashion should aim for-whether on a screen, a stage, or a runway. Intentionality. Depth. Beauty. When we treat clothes as art, culture, and history-not just product-we create experiences that resonate far beyond the moment. Sinners reminded me that we, as creatives, have the ability to shape how the world sees us, remembers us, and learns from us. That is our power as creatives.
-Tempestt
Works Cited
"Nicole Kidman is Captivated By the Tailoring on Display at Met Gala." YouTube, uploaded by Vogue, 5 May 2025, https://www.youtube.com/watch?v=OEA_mV_pMJE.YouTube
Goldberg, Madison E. "Anna Sawai Asks People to ‘Please Be Happy’ for Her Too After She and Zendaya Wore Nearly Identical Outfits to 2025 Met Gala." People, 9 May 2025, https://people.com/anna-sawai-asks-people-to-please-be-happy-for-her-too-after-she-and-zendaya-wear-nearly-identical-outfits-to-2025-met-gala-11732485.Just Jared+3People.com+3Just Jared+3
Philogene, Haniyah. "The 2025 Met Gala Raised $31 Million—the Most in Its History, with Black Fashion Center Stage." TheGrio, 6 May 2025, https://thegrio.com/2025/05/06/met-gala-raised-31-million-the-most-in-its-history-with-black-fashion-center-stage/.