Okay. I'm both overwhelmed and satisfied. It's been a long week and finally, it's MET week. As always, some may say it disappointed, but I'll say that, for once, fashion genuinely tried to go deep into culture — and into one that's often overlooked: Black culture. Also, to my absolute joy, this was the first Costume Institute exhibition since 2003's “Men in Skirts” to focus exclusively on menswear, — specifically, the figure of the Black dandy, which I've explored in detail in both the first and second issues I dedicated to the 2025 theme: Superfine, Tayloring Black Style.
As usual, some looks broke the internet while paying tribute to the theme, others for many other reasons. For me, in the first group we can find Lewis Hamilton in Wales Bonner (we'll talk about him later), Teyana Taylor in Ruth E. Carter, Rihanna and Doja Cat (who looked straight out of the 80s, loved it) in custom Marc Jacobs, and Colman Domingo in custom Valentino. We saw a lot of Thom Browne — probably the brand whose DNA matched the theme most naturally with some executions better and less obvious than others, like Zoe Saldaña's custom look, one of my favourites of the night.
Surprisingly, we saw some outstanding Chanel - and I say that not because I dislike the brand, but because expectations are usually low, especially on the red carpet— thank you Matthieu Blazy for Lupita Nyong'o and Jennie. Of course we also saw a strong Louis Vuitton presence, mostly because Pharrell was co-chair and is Creative Director of the French fashion house with good fits coming from Pharell himself and Doechii (umbrella-team fighting apart)
Now, let me tell you - what really surprised me about this MET Gala, beyond the genuine effort shown by the co-chairs and many guests, was how accessible luxury or upper premium brands like BOSS, Tommy Hilfiger or GAP Studio stole the spotlight and owned some of the best moments of the night, proving their momentum. The first two mentioned, by the way, are sponsors and very F1-related. BOSS brought two looks that deserved a standing ovation: Khaby Lame and Alton Mason, meanwhile Tommy Hilfiger and Damson Idris didn't just surprise with the fit — a rouge tuxedo featuring the Tommy tartan — but with an F1-style entrance: suit, helmet, and the whole sport at the centre of the most fashionable night, promoting the upcoming F1 film with style and on-theme. A masterclass in advertising. On a less racing, more magical note, Laura Harrier in GAP Studio by Zac Posen wore the dream dress — a mix of volumes and textures that earned her a place in my top 3.
What also caught my eye (and I think this says a lot about the current downturn of Made in Italy) was the very low presence of some Italian brands compared to the French and American houses. Yes, we had Miu Miu, but I genuinely felt the absence of Gucci and I'm quite sure Alessandro Michele would've delivered something amazing if he were still in charge of the brand’s creative direction. Also missing: Armani, the king of tailoring, Versace (although Donatella was there) and Loewe (!!!) recently named the most popular fashion brand according to Lyst. Another big name I wished to see more of was Prada but la signora Miuccia did deliver one of the cleanest customs of the night with Hunter Schafer.
To be honest, I was really hoping for more space for emerging Black designers instead of the usual big fashion houses. This felt like the best opportunity to let them shine, but I guess the economic power of big fashion entities like LVMH won out at a time when luxury brands are desperate for the spotlight, mainly for financial reasons.
For us F1 fans, one thing is clear: Lewis had already won before even stepping on the carpet, but the actual truth is that he really won because he chose to tell a story, wearing a look by one of the most exciting names in fashion right now (though for me, she's already an icon): Grace Wales Bonner, founder of the London-based label Wales Bonner.
From Adidas to the MET, who is Grace Wales Bonner?
We've talked about her thanks to some looks Lewis has worn to the paddock (and out of it) in the past years, so I thought it was time for her to get a whole piece of her own and because I do believe we're going to be talking about her a lot in the fashion industry in the upcoming years. You might know her from her Adidas Originals collab, which started in 2020 — a perfect fusion of her Afro-Atlantic heritage and Adidas's sportswear DNA. Her take on iconic silhouettes like the Samba, SL72 and Gazelle played a huge role in Adidas' big comeback in the sneaker game and that partnership alone gives you a glimpse of how Grace likes to work with codes and heritage.
Back to the start, Grace Wales Bonner founded her brand in 2014 after graduating from Central Saint Martins (where I also studied Creative Direction!), starting with menswear and slowly expanding into womenswear, jewellery, and sneakers. Her vision is all about mixing European tailoring with Afro-Atlantic references and her early collections — inspired by Black British culture and West African heritage — were already highly praised. What makes Wales Bonner special is how each collection is a full narrative, deeply researched, drawing from Black diasporic stories and that's exactly why she was the perfect fit for this year's MET — and for Lewis, who always chooses fashion with intention and meaning.
If you want a taste of what Wales Bonner is all about, go check out the 2020 Lovers Rock collection, a reinterpretation of 70s London reggae culture, or the 2022 Volta Jazz collection, which drew inspiration from vintage West African photography.
Her connection with Lewis didn't start now. They've already created some of his best looks — from the Wales Bonner Menswear Show in Paris 2023 to the Hungarian GP, The Fashion Awards in London, and now, the masterpiece that was his 2025 MET Gala outfit.
Lewis Hamilton's custom Wales Bonner suit was pure poetry.
A fully ivory look, sharply tailored, with a cropped jacket and cutaway coattails sitting above high-waisted tuxedo-stripe trousers, finished with a white bow tie. But the real statement piece? An embroidered sash draped from his waistband, adorned with cowrie shells — a symbol of protection and ancestral wealth. Eric McNeal, Lewis' longtime personal stylist, brought all the elements together for a look that took months to research and bring to life:
"We spent three months on research and two months bringing it to life… Nothing about it was rushed. […] What makes it special is that it's not just about fashion — it's about meaning." - Eric Mcneal
The moodboard included the Harlem Renaissance with Cab Calloway, Barkley L. Hendricks’ paintings and Black spiritual dressing with, of course, the legacy of André Leon Talley. The white-on-white palette was a direct nod to Hendricks' portraits of Black figures dressed in all white — understated but powerful. The final touch? A white beret by Stephen Jones Millinery, worn tilted to the side and personalised with a Briony Raymond diamond brooch. The attention to detail was next-level: mother-of-pearl buttons, baobab-flower embroidery, cowrie shell accents, and custom Manolo Blahnik tuxedo shoes. Grace's signature was in every stitch. It was the perfect marriage between British tailoring and African symbology — exactly what this MET Gala was meant to celebrate.
"Black men have always had to be more excellent… And Black men have always had to be more excellent than our white counterparts. […] That's why this theme is just so important to me."— Lewis Hamilton
But Lewis wasn't the only one who (thankfully) chose Wales Bonner that night.
FKA twigs paid homage to Josephine Baker in a glittering 20s-style cocktail dress covered in Swarovski crystals with a dramatic feather hem, paired with custom Manolos and an ultra-short Eton crop hairstyle.
FKA twigs © Wales Bonner Jeff Goldblum went full Hollywood jazz — oversized fur-trimmed overcoat.
"My heroes of style have always been jazz players — Thelonious Monk, Miles Davis. Style is political. It's cultural. It matters." - Jeff Goldblum
Jeff Goldblum in custom Wales Bonner © Wales Bonner Omar Apollo mixed dandysm and streetwear in a cropped black tux with a leopard-print Swarovski-crystal undershirt and high sash.
Omar Apollo in custom Wales Bonner © Wales Bonner Tyler Mitchell, the photographer behind Vogue's May issue cover, wore a soft cream double-breasted suit with feather cuffs, gloves, and a sculptural flower brooch. So. Good.
Tyler Mitchell in custom Wales Bonner © Wales Bonner Antwaun Sargent, curator and author, wore a crisp tailored suit that reflected the elegance and intent behind the brand.
Grace Wales Bonner and Antwaun Sargent © Wales Bonner
As a woman working in fashion — an industry led by women in its lower and middle tiers but still heavily male at the top — it felt needed and powerful to see someone like Grace Wales Bonner take up space at the MET with pieces that breathed meaning. Even more so to see someone like Lewis give her that space and trust. There are still so few women leading creative direction in fashion. This meant something.
See you next week!
Alba
People don’t talk enough about how GWB made the samba what it is right now with her collaborations