Recently, Pace students from different classes visited the Metropolitan Museum of Art to see the “Superfine: Tailoring Black Style” exhibition.
Students’ reception of the Superfine exhibit was overwhelmingly positive. Senior Saul Guzman claimed, “Out of the many museums and exhibits I have seen, I can confidently say the Superfine Exhibit was the best exhibit I have seen when it comes to African art.”
“Superfine”“presents a cultural and historical examination of Black style over three hundred years through the concept of dandyism,” according to the Met website. The term “dandyism” refers to someone obsessed with their appearance and always choosing to present themselves as well-dressed and well-groomed.
Over time, when Black people began to gain status and social mobility, the term “ Black dandyism” was coined, initially as a joke. “Black dandyism” has taken on a life of its own and has become a cultural revolution in its own right since then.
Guzman also says, “My favorite piece was a mannequin styled by Brick Owens and Dieter Grams… The mannequin caught my eye because of the all-black slim silhouette contrasting with the mannequins beside it.”
The exhibit divides itself into sections, with pieces reflecting themes such as “Ownership”, “Disguise,” “Freedom,” “Respectability,” and more, which are indicative of different points in the history of the African diaspora in the United States and Europe.
In this way, Superfine can be approached as a journey, with each section further developing the concept of style among members of the African diaspora: at first fully embracing European influences, but progressively integrating aspects of heritage to influence design decisions and composition.
Similarly, senior Brianna Lawrence shared her experience, which “was really eye-opening and powerful. I loved how each piece told a different story and showed how art can connect deeply to culture and identity.”
Lawrence was a fan of the “Respectability” section of the exhibit: “It showed strength and pride in the face of judgment, and how presentation can both be a form of self-expression and resistance.”
Artifacts of “Superfine” date back centuries, with livery coats, boots, and oil portraits of Black nobles. The standout piece of the exhibition is Frederick Douglass’ tailcoat from the 19th century, among a host of his other accessories, demonstrating the need for style and class among Black intellectuals during that time.
Pieces as recent as 2024 are present, from the likes of Virgil Abloh, Pharrell Willams, and Olivier Rousteing for luxury brands like Louis Vuitton, House of Balmain and Denim Tears.
Although the exhibit may no longer be on view, a video tour of the exhibit is available on the Superfine exhibit website. An exhibition catalog is also available on the MET website and wherever books are sold.
