Damson Idris makes grand entrance at the 2025 Met Gala
Damson Idris made quite the entrance at the 2025 Met Gala.
This year's Costume Institute exhibit and correlating Met Gala theme was "Superfine: Tailoring Black Style." Celebrities in attendance dressed to the nines in accordance with the evening's dress code, "Tailored for You."
Idris was among those who donned a tailored, swanky look for the evening, however the actor added a surprising twist to his ensemble, arriving in an APXGP race car and sporting a custom Tommy Hilfiger racing suit, complete with a helmet adorned with over 20,000 Swarovski crystals -- a nod to his role in the upcoming film "F1."
Once on the iconic Met Gala carpet, the actor removed the racing suit to dramatically unveil a striking red plaid three-piece suit, also by Tommy Hilfiger.
The ensemble featured a jacket with square jacquard patterns woven with gold thread, adding a baroque touch to the classic tartan design.
Idris' look was considering one of the most memorable moments of the evening.
Idris' transformation not only highlighted his stylish flair but also paid homage to the evolution and versatility of Black men's fashion, aligning seamlessly with the gala's celebration of Black dandyism and menswear.
The 2025 Met Gala and related Costume Institute exhibit, which were announced in October 2024, take inspiration from Monica L. Miller's 2009 book "Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity," according to Vogue.
"It's the first Costume Institute exhibition since 2003's 'Men in Skirts' to focus exclusively on menswear, as well as the first since Andrew Bolton became Curator in Charge to involve a guest curator," Vogue wrote last October. "Monica Miller, Professor and Chair of Africana Studies at Barnard College, Columbia University, will examine the figure of the Black dandy from its earliest depictions in 18th century art to modern-day representations from the runways and film. The show is inspired by her 2009 book 'Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity,' in which she establishes Black dandyism as both an aesthetic and political construct."
