The Met Gala 2025, held as tradition dictates on the first Monday of May, returned in full opulence to New York City’s Upper East Side. As always, it was more than just a fashion event—it was a cultural touchpoint. This year’s theme, “Superfine: Tailoring Black Style,” offered a deliberate and nuanced tribute to the evolution and artistry of Black fashion, particularly through the lens of menswear and dandyism.
And yes, Rihanna arrived late—fashionably, gloriously late. But then again, she’s the only one who can, with Vogue’s blessing.
A Carpet That Turned Heads
The blue carpet outside the Metropolitan Museum of Art was less a runway and more a tapestry of style histories. From the minute Diana Ross emerged, the tone shifted. There was a kind of reverent pause—brief, maybe, but undeniable. She shimmered with legacy.
Then Zendaya swept in. Graceful, confident, maybe a little playful. And just behind her, stars like Charli XCX, Nicole Kidman, Lizzo, and Colman Domingo followed, each dressed in ensembles that balanced the personal with the historical Met Gala.
One look that sparked chatter—both admiring and a little perplexed—was Jenna Ortega’s Olivier Rousteing creation, a gown apparently made of metal rulers. It raised eyebrows, sure, but it also made people look closer. Maybe that’s the point.
Rihanna Shuts It Down (Literally and Figuratively)
Arriving last, Rihanna wore custom Marc Jacobs. It wasn’t just a look—it was an event. With an oversized pinstripe skirt fashioned from a repurposed suit jacket and a gray tailored top, she brought drama without theatrics. The wide-brimmed hat, the polka-dot cravat, and most notably, the baby bump—yes, she confirmed it: baby No. 3 is on the way.
It was a moment. Or maybe more than one. Fans cheered. Photographers scrambled. And somewhere in the crowd, you could almost hear someone say, “Of course she did.”
Highlights Inside the Museum
Beyond the cameras and chaos, the gala’s inner sanctum held its own magic. Stars like Zendaya, Hunter Schafer, and Ayo Edebiri mingled. Blackpink’s Rosé teased new music. Regina King stunned in a navy pantsuit by Who Decides War, a label making its Met Gala debut.
Tessa Thompson carried a church fan bearing André Leon Talley’s image. Lauryn Hill, rarely seen on such stages these days, appeared in butter yellow beside Pharrell. Kendall Jenner wore a sculptural look from Torishéju Dumi. And Janelle Monáe? She layered two Thom Browne suits, only to have one dramatically peeled away mid-staircase by designer Paul Tazewell.
There’s something fascinating in the details. The quiet moments. The slow camera pans that catch Lizzo’s newly blonde hair or Quinta Brunson’s homage to Josephine Baker. A whisper of glamour, maybe, or just very good styling.
Politics, Pop, and a Bit of Surprise
Former Vice President Kamala Harris made an unexpected appearance. No red carpet. No press statements. Just her, a custom Off-White gown, and a presence that needed no announcement. Like AOC’s infamous “Tax the Rich” dress in 2021, her attendance felt deliberate, if a little subdued this time.
Meanwhile, fans looked for Kylie Jenner and Timothée Chalamet to walk together. Didn’t happen. But Kylie did arrive in a sleek Ferragamo gown that more than made up for any disappointment. Sometimes, the anticipation is part of the show.
Style as Statement
This year’s Met wasn’t just another excuse for sequins and silk. It was thoughtful. Intentional. The theme—Tailoring Black Style—was handled with care. Fashion here became a kind of soft power, a storytelling device.
Perhaps not every look hit the mark. Maybe a few missed entirely. That’s subjective, though, isn’t it? But overall, the night felt honest in its opulence. Not forced. Not frivolous.
And if you ask me, it’s those little contradictions—the mix of glamour and gravity—that keep people watching.
Until next year, Met Monday remains undefeated.
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