New York — A Brooklyn-based fashion designer, Jacques Agbobly, experienced a moment of disbelief and joy upon receiving an email from the Metropolitan Museum of Art. The museum invited him to showcase two of his designs in its latest exhibit, “Superfine: Tailoring Black Style,” which coincides with the illustrious Met Gala. “I was just floored with excitement,” Agbobly remarked; the invitation represented a significant acknowledgment of his work after only five years in the industry.
Growing up in Togo, Agbobly was inspired by the seamstresses and tailors he observed in his family’s home. After moving to New York to study fashion, he would watch the Met Gala from a distance, dreaming of participating in such a prestigious event. Now, he finds himself among a group of emerging talents featured in an exhibit that focuses solely on Black designers and their contributions to menswear.
“Superfine: Tailoring Black Style” marks a transformative moment for the Costume Institute, as it is the first exhibit dedicated entirely to Black designers in over two decades. Curator Monica L. Miller expressed enthusiasm for presenting a diverse range of original designs. “It’s super exciting to showcase the works of these younger designers, highlighting their perspectives on Black representation across different times and places,” she stated.
The exhibit explores the historical significance of dandyism, a recurring theme that encapsulates how Black designers have navigated fashion over the centuries. For Agbobly, dandyism signifies empowerment and self-expression. “As a Black designer and a queer person, it’s about taking up space and being unapologetically yourself,” he explained. The exhibit defines a dandy as someone devoted to dressing elegantly and fashionably, showcasing a wide array of styles within 12 thematic sections.
One section, “Ownership,” begins with livery coats worn by enslaved individuals, demonstrating how garments were not only items of clothing but also symbols of wealth and status for their owners. Miller highlighted these pieces as a reflection of how clothing can be dehumanizing while also providing a sense of agency. One striking example is a purple velvet coat that serves as a reminder of the conspicuous consumption associated with slavery.
The exhibit also investigates how dress can both conceal and reveal identity. In the “Disguise” section, historical advertisements for runaway enslaved people reveal how fashionable clothing allowed individuals to mask their identities while also providing financial means for escape. Miller remarked, “Dressing above one’s station was sometimes a matter of life and death.”
Contemporary pieces like those from Off-White challenge traditional gender norms, with jackets designed for men displayed on female mannequins. This intersection of fashion and identity continues throughout the exhibit, offering viewers a comprehensive view of Black style across history.
Miller also points to portraits of affluent Black men from the early 19th century, representing the dawn of a burgeoning Black middle and upper class. The juxtaposition of these portraits with derogatory caricatures illustrates the societal challenges faced even as progress was made in fashion and representation.
In addition to showcasing key historical figures like W.E.B. Du Bois and Frederick Douglass, the exhibit highlights their contributions to a sense of respectability. Du Bois, a civil rights activist known for his impeccable style, is represented through various personal effects, including suit orders and a laundry receipt. Douglass, one of the most photographed individuals of the 19th century, has his signature tailcoat and top hat on display, emphasizing the importance of attire in asserting one’s identity.
Heritage also plays a crucial role, as seen in Agbobly’s vibrant designs inspired by West African culture. His creations not only pay homage to his roots but also link past and present, offering timely reflections on cultural identity.
For Agbobly, the journey from observer to participant has been profound. Having shared his thrilling news with friends and family, he emphasizes the significance of this moment in his career. “Everyone knows about it. I keep screaming. If I could scream from the mountain tops, I would,” he said, excitedly acknowledging the recognition of his artistry at one of the world’s most prestigious venues.