NEW YORK — Jacques Agbobly was initially in disbelief when an email from the prestigious Metropolitan Museum of Art landed in his inbox. Despite having just five years of experience as a fashion designer, the Brooklyn-based creator was being invited to showcase two of his designs in the upcoming “Superfine: Tailoring Black Style” exhibition. This high-profile event coincides with the glamorous Met Gala.
“I felt overwhelmed with excitement,” Agbobly shared. “I had to verify the authenticity of the email before allowing myself to celebrate. It was surreal … could I really share this news with anyone yet?”
Agbobly’s journey began in Togo where he watched as seamstresses and tailors crafted exquisite garments in a part of his family’s rented home. His passion for fashion led him to New York, where he dreamt of being associated with the Met Gala’s red carpet.
The exhibit “Superfine: Tailoring Black Style” marks a significant milestone as it exclusively showcases Black designers, a first for the Costume Institute, and dedicates an exhibition to menswear after more than two decades. Unlike previous exhibitions that centered on famed designers such as Karl Lagerfeld and Charles James, this one highlights emerging talents, including Agbobly.
Monica L. Miller, a guest curator and professor at Barnard College, played a pivotal role in the formation of the exhibit. “The range is phenomenal,” she noted, emphasizing the importance of featuring younger designers. “It’s exhilarating to see how they perceive Black representation over time and place.”
On a financial note, the Met Gala impressively raised $31 million, surpassing the $30 million mark for the first time and eclipsing last year’s figures.
The Concept of Dandyism
The exhibition spans centuries of Black styles, unified by the theme of dandyism. For Agbobly, being a dandy is about “occupying space. As a Black designer and a queer individual, it represents self-expression against societal expectations … it’s a declaration of presence.”
Scheduled to open to the public on May 10, the exhibit defines a dandy as someone “who prioritizes elegant and fashionable dress.” Miller has structured the exhibit into 12 sections, including themes such as ownership, freedom, and coolness.
Fashion as a Tool of Dehumanization and Empowerment
The exhibition begins with “ownership,” featuring two intricate livery coats worn by enslaved individuals. A striking coat from Maryland is crafted from purple velvet with gold trim, a symbol of the owner’s wealth. Another, from Louisiana, is a tan broadcloth coat thought to be crafted by Brooks Brothers for an enslaved youth.
This setup contrasts with contemporary items like Grace Wales Bonner’s ensemble, which combines crushed silk velvet with African heritage symbols. The show also features a “dollar bill suit” by 3.Paradis as social commentary on wealth disparity.
Fashion as a Means of Disguise and Revelation
Also featured: a collection of 19th-century ads for runaway enslaved persons. Such ads often mentioned attire as being of notable quality, facilitating identity concealment or enabling escapees to sell clothing to fund their freedom, as explained by Miller.
Contemporary pieces by Off-White exemplify this theme by using gender-fluid designs, evidencing the power of dress to both obscure and manifest personal identity.
The Dawn of a New Class
Depicted are early 19th-century portraits, showcasing Black men who attained success and could afford to commission portraits while dressed in elite fashion. These images signify the emergence of a Black middle-class, juxtaposed by racial caricatures displayed opposite them, highlighting the prejudices faced.
The Legacy of Respectability
Miller references iconic figures such as W.E.B. Du Bois, renowned for his activism and style. Du Bois’ travels demanded attire reflective of his esteemed position. The exhibit showcases related artifacts like tailor receipts and his clothes.
Similarly, Frederick Douglass, known as the 19th century’s most photographed man, is celebrated with his possessions: a tailcoat, monogrammed shirt, hat, cane, and sunglasses.
Designers Emphasizing Their Roots
Among the exhibit’s highlights, Agbobly’s work shines in the heritage section, with pieces inspired by African migration. His colorful ensembles allude to bags used for personal belongings, while another denim suit honors his upbringing around hairbraiding.
Excitement about this recognition was shared openly by Agbobly, “Everyone knows … I can’t stop shouting about it! If there was a hill, I would scream from the top.”