For New York, Harlem stands as the heart of Black culture, defined by its diverse blend of African-American, Caribbean, and West African communities, its historic landmarks, vibrant nightlife, and eclectic sense of style.

On Tuesday evening, cultural influencers and industry leaders convened at The Apollo Stages—a modernized extension of the historic Apollo Theater—for an intimate panel discussion. The event delved into Harlem’s profound influence on the evolution of Black fashion, art, and creativity.

 The discussion, hosted in the venue's Victoria Theater space, was moderated by Dr. Monica L. Miller, professor and chair of Africana Studies at Barnard College. The gathering served as a lead-up to the 2025 Met Gala, which will spotlight “Superfine: Tailoring Black Style,” the spring exhibition at the Metropolitan Museum of Art’s Costume Institute.

Panelists included Jonathan McCrory, executive artistic director of the National Black Theatre; renowned fashion icon and historian Lana Turner; and bandleader Dandy Wellington. Despite the chill of New York’s April weather—marked by a freeze warning and 35-degree temperatures—attendees dressed impeccably, reflecting the evening’s theme.

Dr. Miller, also the guest curator for the upcoming exhibit, framed Harlem as a “creative portal,” emphasizing the Black dandy's role in its sartorial golden era. She showcased images of clothing and artifacts by Black menswear designers that will feature in the exhibit, such as a 19th-century-inspired Harlequin print-patterned overcoat by Tremaine Emory of Denim Tears, and a vintage portrait of Frederick Douglass impeccably styled in a double-breasted suit.

Jonathan McCrory captivated the audience by equating Black male dandyism to a caterpillar’s transformation into a butterfly. His comments on using clothing as both protection and a channel for creative softness resonated deeply, earning resounding applause. McCrory proposed that fostering a balance between femininity and masculinity through style could birth a softer, more imaginative world.

Lana Turner reminisced about Harlem’s legacy of style, recalling how her parents and their contemporaries paraded in their finest attire on Harlem’s streets, particularly Seventh Avenue—a cultural runway likened to Paris’ Champs-Élysées for Black creatives. She shared memories of her late father, whom she described as the embodiment of a male dandy, consistently donning a Stetson hat, tailored suit, tie, and polished shoes. Turner highlighted that even amid limited resources, aspiration fueled Harlem’s fashion heritage.

Dandy Wellington explored the innovation and resilience of Black style, noting how its evolution has often been driven by a lack of access to capital. He described his personal aesthetic as a blend of historical echoes and futuristic possibilities, celebrating Black creativity as a process of remixing and redefining fashion.

As the event concluded, attendees engaged in a Q&A session. Rachel Francois, one of the guests, expressed her enthusiasm for seeing the exhibit, which traces dandyism from the 18th century to the present. Dr. Miller closed the evening by reflecting on the honor and responsibility of curating the exhibit, inspired by her 2009 book *Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity*. She expressed her hope that the exhibition does justice to the rich cultural narrative it seeks to celebrate.