If Pratt Institute fashion professor Adrienne Jones had to rate the 2025 Met Gala red carpet, she’d give it a solid seven out of 10.

“After watching, it was kind of where I expected it to be,” she told Fashionista the morning after fashion’s biggest night. Why didn’t she give it a higher score? The carpet could’ve used more Black designers, she says.

The academic, who herself co-curated a fashion exhibit entitled “Black Dress II: Homage” at Pratt Manhattan Gallery, elaborated: “I knew we were going to get the extreme tailored garments,” she explains. “I expected to see a Thom Browne. I expected to see a Versace. But I was hoping that there would be a broader range of Black fashion designers, especially with the focus [of the Costume Institute exhibit] being on the Black male.”

The minute the Metropolitan Museum of Art’s Costume Institute announced its latest exhibit as “Superfine: Tailoring Black Style,” soon came many think-pieces (some more well-researched than others) and online discourse on what the red carpet fashion would have in store. This year’s theme was inspired by Dr. Monica Miller’s 2009 book “Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity.” The exhibit explores not only the Black Dandy’s origins, but also how it has evolved over the centuries. 

With that came two things needed at the gala itself: Firstly, there was a responsibility to champion Black designers whose work is historically overlooked. Secondly, invited guests were expected to come with well-researched references on hand.

According to Jones, the gala could’ve done better on both fronts.

For the latter, Monday night unveiled popular references like André Leon Talley (who is honored in the exhibit), Dorothy Dandridge, Bianca Jagger and Miles Davis. There were many nods to Josephine Baker, as referenced in the looks of Gigi Hadid, Quinta Brunson, FKA Twigs and Megan Thee Stallion.

Jones felt that some guests could’ve diversified their research. She pointed to photography from the Harlem Renaissance and early jazz periods as examples for additional sources. In other words, a look didn’t need to refer to a singular individual for it to be impactful or on-theme. Take, for example, Willy Chavarria’s zoot suit — straight from his Fall 2025 collection — that was inspired by Pachuco style. There was also Bad Bunny’s Prada suit, which paid homage to his Puerto Rican culture.

Brand-wise, Jones acknowledged it was nice to see the Black designers who did make the carpet — Sergio Hudson, Christopher John Rogers, 5000, Wales Bonner, LaQuan Smith, Harbison, Ahluwalia and Bianca Saunders, to name a few. That said, there was room for more.

Of course, this isn’t such a black and white conversation. Landing a Met Gala red carpet placement isn’t as simple as a stylist requesting a look. For one, many A-listers are under contractual agreements to wear certain brands, especially among the European luxury houses. Even for VIP talent not under a contract, the Met Gala is the perfect stepping stone to setting up future deals and ambassadorship. (Watch this space for potential Doechii and Louis Vuitton team-up.) 

Then there’s the issue of pay-to-play, where labels will pay stylists for their clients to wear the brand. This poses an extreme issue for emerging and indie designers who don’t have the cash to compete against commercial giants. In the case of some Black designers, they, too, can’t participate in this arrangement, thanks to the major capital gap and lack of funding for BIPOC business owners. 

Above all, Anna Wintour, Vogue‘s editor-in-chief and Met Gala chair, has the most control over who attends the gala and what they wear. And Jones believes Wintour can do better in providing better opportunities for Black designers on Met night.

“She looks at everything and has the final say on not only who shows up, but what they show up in,” Jones said of Wintour. “She’s the holder of the chessboard. She decides what moves are made. […] I thought her conversation was interesting about shining a light on more black designers […] I would like to see her back that up.”

The real question is how much of the responsibility of platforming Black designers falls on Black talent. Rihanna, for example, chose to sport Marc Jacobs, despite not being a brand ambassador. Zoe Saldaña went with Thom Browne; Laura Harrier wore Gap Studio by Zac Posen; and Kerry Washington sported Simkhai.

On one hand, in the name of authenticity and inclusion, shouldn’t celebrities have the freedom to collaborate with designers of their choice, regardless of race? But on the same note, if Black talent can’t support their own community, who else will open those doors?

It’s a tricky question that’s left Jones in a quandary. While she doesn’t have the answer, she does challenge stylists to be more open-minded about working with Black designers. 

“I think a big part of the change has to come with the stylist because they’re the ones who are going out and shopping the looks for their clients,” she explained. “Especially when you have a Black celebrity [who] has a Black stylist, I feel like, ‘Come on, people. Let’s do this for each other.’ […] A lot of the stylists go back to the same people because they have a relationship with them. Go make new relationships, go make new friends. Lots of other talent is out there, and they would love to be able to be seen more.”

So, who did the 2025 Met Gala right? Jones points to Diana Ross and Jodie Turner-Smith as her top two picks. Ross — who returned to the gala for the first time in over 20 years — in collaboration with designer and stylist Ugo Mozie, wore a heavily-embellished sequin dress and an 18-foot-long feather-trimmed cape. Meanwhile, Turner-Smith stole the show in a head-to-toe Burberry look, nodding to Black equestrian Selika Lazevski. 

Other standout attendees for Jones included Nicole Kidman in Balenciaga Couture, Cynthia Erivo in Thom Browne, Janelle Monáe in Thom Browne, FKA Twigs in Wales Bonner, Doja Cat in Marc Jacobs, Jeremy Pope in vintage Maison Margiela and Cole Escola in Christopher John Rogers. 

At the end of the day, the 2025 Met Gala’s true measurement of success is based on what happens next. Will this open dialogue to advocate – and actively back — systemic change? Or is this another fleeting moment meant to fulfill performative attempts of “inclusion”?

“I would like to see it as a continuum rather than as a moment,” said Jones. “The last moment that we had was 2020 with Black Lives Matter. We were a trend, so everybody jumped on the trend […] The fact is that we’ve been here and creating. We’ve always had less than and always made it look better than. I think [our work] should be part of the mainstream. I’m grateful [for this theme], but we shouldn’t have to do a focus like this. Because we’re still always going to be here.”

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