Every first Monday in May arrives not just as a fashion holiday, but a Fashion holy pilgrimage. And in 2025, the Met Gala didn’t merely return—it reigned. The theme? Sharp enough to slice through fantasy and reveal something richer, more grounded, more urgent: Superfine: Tailoring Black Style.
This wasn’t a night of fantasy gowns or inflated silhouettes. It was a celebration of lines, seams, and legacies. The tailoring spoke—no, shouted—in precision. This year Met Gala, fashion wasn’t just worn. It was lived. Because while fashion is a trend, style—especially Black style—it is an inheritance. It’s survival. It’s resistance turned art form.
From the moment Colman Domingo stepped onto the Met Gala carpet, it was clear: this wasn’t going to be a regular night. Domingo didn’t walk—he arrived. 
Draped in custom velvet blue with ecclesiastical flair and a cape that moved like scripture, he gave ancestral royalty. Underneath? A black and white tweed nod to André Leon Talley. Every stitch was a sermon on opulence, queerness, and reclamation. The tailoring was so sharp it resonated like sound.
Pharrell Williams, a co-chair, showed up in pearl-studded Louis Vuitton that married cowboy cool and Parisian polish. It echoed Harlem Renaissance luxury and futuristic calm, styled with his signature sunglasses and unshakable cool that only comes from someone who knows they are a cultural reset in human form. He didn’t just wear a look; he embodied an aesthetic.
A$AP Rocky? the king of controlled chaos.The man could literally wear a trash bag and make it fashion, but tonight he brought tailored rebellion to Met Gala carpet.
In layered, all-black tailoring that redefined rebellion, he made his case not just as a dresser but a thinker. His style doesn’t scream—it provokes intellectually. He is not trying to be the best dressed, he dresses to spark a thought in fashion.
And of course, Rihanna. She arrived last—because, She is who she thinks she is. Pregnant—again, Phew! We are definitely not getting an album and her minis may not be aware that their Mum dominantes not just in fashion but in music. But her look? A charcoal grey Marc Jacobs bustier with a sculpted skirt and boxy cropped jacket. She gave us maternity corporate goth. Styled by Jahleel Weaver, it was intimacy wrapped in structure. It was made by someone who truly knows her body, her vibe, the need to disrupt. It didn’t beg for delicacy. It demanded power. It said: even pregnant, I run this.
Still, no one made me audibly gasp like Zendaya. She delivered two looks, meeting the Gala’s theme. Blessed 2025 met gala fundraising in a head-to-toe white three piece suit designed by Pharrell Williams for Louis Vuitton with a fitted blazer, tie, vest, wide-leg pants and heels. Her hair perfectly tucked into a bun beneath her cream coloured chapeau.Zendaya doesn’t wear clothes—she communes with them. This year, she translated tailoring Black style into myth.
Janelle Monáe also stunned in black and white sculptural tailoring, cage skirt and all. It played with binary, space, and expectation. She always brings performance to the carpet, but this time, she brought textbook technique. Tailoring as spectacle. Tailoring as defiance for every line of the look had a purpose and sure told a story.
And then came the moment of the night: Diana Ross. The icon. The matriarch. Draped in white, with a feathered train that felt handwoven by Motown angels, her gown was embroidered with the names of her children and grandchildren. It wasn’t just fashion. It was family. It was history you could touch. Hopefully, someone somewhere has archived the dress because it deserves to live forever.
A special nod to Doechii, who interpreted the theme with Gen Z irreverence and full-grown craft. In deconstructed Louis Vuitton—exaggerated tailoring, bold boots—that looked like they stomped out tradition. It was giving cartoon proportions but with grown woman structure. Her look said tailoring isn’t static. It’s a living, breathing identity.
Let’s return to the men, because this year’s Met Gala, they finally got the memo that the theme applies to them too. Rege-Jean Page glowed in emerald.And Lewis Hamilton—whew. He showed up like a manifesto.His custom Burberry look was white and West African, stitched with quiet revolution. Law Roach styled him too (of course). You can always tell—it’s the poetry in the fit.
Nicki Minaj brought chaos couture. Pink platforms. Sculpted bodice. What can only be described as “couture hair.” Was it on-theme? Not quite. Did we care? Not at all. Nicki dresses for the timeline. For the drama. For the girls who want the gasp, not the approval.
Barry Keoghan surprised in a high-collared coat and red cummerbund—it was giving Victorian vampire meets Runaway. Unexpected, but welcome. Same for Ncuti Gatwa, whose oversized bow and bold purple suit reminded us that risk is always in style.
Sabrina Carpenter walked the Met Gala carpet in a no-pants blazer moment that somehow felt like couture. A twist on a Gen Z staple—but refined. Styled by Jason Bolden, the look was sleek, sharp, and editorial to the core.
FKA Twigs floated in romance—Wales Bonner’s corseted design melted into her skin, airy but anchored, with Manolos to ground the softness. It was precision as poetry.
By the end of Met Gala night, I wasn’t just full—I was fed. Tailoring Black style wasn’t a theme. It was a thesis. A retelling. A restoration. This was fashion as remembrance. Every lapel carried legacy. Every pleat whispered ancestry.
2025’s Met Gala didn’t just entertain. It educated. It honored. It reminded us that in a world speeding toward algorithmic fashion, hand-stitched, lived-in Black style remains the blueprint.
