The 2025 Met Gala, a dazzling spectacle of sartorial artistry, saw a wave of Nigerian stars grace its hallowed carpet, including the radiant Grammy winner, whose name wasn't explicitly stated in the provided text but was clearly a force to be reckoned with in her Louis Vuitton ensemble and striking Afro. Her beauty was in the details – a luscious, glossy lip and a subtle, yet unmistakable, Louis Vuitton logo placed delicately on her cheek. A bold statement, to be sure, but it was another artist, the unapologetically stylish Doechii, who truly set the internet ablaze with a beauty look that sparked a conversation as fiery as any red carpet.
Doechii, the rapper known for her fearless fashion choices, arrived at the Met Gala predictably dripping in head-to-toe Louis Vuitton menswear. Staying true to the theme, “Superfine: Tailoring Black Style,” she donned a crisp white LV-monogrammed short suit, earning well-deserved praise from netizens and critics alike. By now, we've come to expect Doechii to deliver looks that are as artistically compelling as her music. However, the true conversation starter wasn't her impeccably tailored suit, but the undeniably provocative prosthetic LV logo emblazoned on her cheek. It was made to appear as if she had literally been branded by the iconic fashion house – an image that, understandably, stirred up a maelstrom of complex and conflicting emotions, particularly within the Black community.
The world of hip-hop fashion has long been synonymous with a deep-seated devotion to high-end labels, an unapologetic flaunting of logos that has become an intrinsic part of its visual language. This aesthetic, pioneered by the legendary Harlem designer Dapper Dan in the vibrant '80s and '90s, initially faced the familiar headwinds of criticism that often greet trends originating within Black culture when juxtaposed against the prevailing white societal tastes and norms. Yet, over time, the world has not only embraced but celebrated this unique expression of artistry and luxury that is distinctly Black American. This legacy was undeniably on full display in both Doechii's fashion and her daring beauty choices.
For many, including this blogger, Doechii's branded cheek immediately conjured up an iconic moment in hip-hop fashion history: Lil’ Kim’s unforgettable cover shoot for Interview magazine’s November 1999 issue, captured through the lens of the visionary David LaChappelle. That image depicted the Queen Bee herself adorned in nothing but a Louis Vuitton-stamped leather hat, the brand's iconic logo boldly printed across her nude form. Initially, Doechii’s Met Gala look felt like a powerful nod to her groundbreaking femcee predecessor, a continuation of that complex and often symbiotic relationship between high fashion and hip-hop culture.
But then came the inevitable pause, the critical reconsideration: a brand? In such a literal and permanent-seeming way? On a Black woman? This was undoubtedly a visual statement that was guaranteed to ignite debate, and ignite it did.
As one astute observer on Threads, @freddyourlove, articulated, "LOVE me some Doechii… I’m absolutely not into this European logo ‘branded’ on her skin for a night celebrating the labor and ingenuity of Black culture and Black men. Not reading as subversive from here." This perspective highlighted a deep-seated discomfort with the visual echo of historical branding and ownership, particularly within a celebration of Black style's own unique contributions.
However, the beauty of art lies in its multifaceted interpretations, and others viewed Doechii's bold choice through a different lens. User @greywater offered a thought-provoking alternative, suggesting, "I thought it was a comment on large brands stealing ideas from black creators and branding them as their own… A safe double entendre." Another user, @xubsdraws, added a layer of unapologetic self-possession, interpreting it as, "'For me, it read as, 'even the black skin I’m in is designer/unaffordable — as if made by an internationally known brand. You could never afford to be me; I was born into this luxury.'"
The name Dapper Dan inevitably resurfaced in this complex conversation. His story, a testament to the resilience and innovation of Black creativity, saw his Harlem boutique forced to shutter its doors after a lawsuit from Fendi for copyright infringement in 1992. Fast forward to today, and Dapper Dan is not only sought after for collaborations by the very fashion houses that once rejected him but was even a celebrated host of this year's Met Gala – a powerful symbol of how the fashion world's perception of Black style has evolved, albeit with lingering complexities.
Interestingly, not all reactions were critical. Chelsea Uchenna, the talented makeup artist who brought this striking vision to life using a prosthetic created by the brilliant Malina Stearns, shared an image of Doechii's gala look on her Instagram, met with a wave of congratulations for what many commenters hailed as the sheer genius behind the LV logo.
The narrative behind the entire look further complicates the symbolism of the brand. In a red-carpet interview, Doechii herself revealed that her inspiration stemmed from Monica L. Miller’s insightful 2009 book, Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity, the very text that served as a foundational inspiration for this year's Met Gala theme. "We studied a little bit on this character, Julius Soubise, who really stood out to me," Doechii explained.
Julius Soubise's story adds a profound historical layer to Doechii's bold statement. Soubise was an Afro-Caribbean man, once enslaved on the island of St. Kitts. Brought to England at the tender age of ten, he was "gifted" to Catherine Hyde Douglas, the Duchess of Queensbury, who took him under her wing. She essentially adopted him into her aristocratic circle, providing him with formal schooling, fencing and equestrian lessons, and dressing him in the finest gentleman's attire. Soubise became a notable figure in English high society, renowned for his flamboyant and fashionable attire – a visible "flex" of the Duchess's wealth and status. In that historical context, a well-kept Black person was often viewed as a display of affluence for the white aristocracy.
Doechii's intentional reference to this complex historical figure adds a layer of subversive commentary to her "branded" cheek. Was it a reclaiming of a symbol of historical oppression, a commentary on the commodification of Black culture by luxury brands, or a bold statement of owning her own "designer" skin? The beauty, and perhaps the discomfort, lies in the ambiguity, in the conversation it undeniably ignited. Whether you loved it or loathed it, Doechii's Met Gala beauty look was a powerful reminder that fashion, at its most impactful, can be a potent catalyst for dialogue, forcing us to confront uncomfortable truths and re-examine the complex intersections of race, history, and style.
