Category Is: Best-Dressed – Black Dandyism In The Ballroom Scene
By Sailey Williams
Category Is: ‘Best-Dressed”, and the judge’s scores will be front-and-center on the steps of the Metropolitan Museum of Art Costume Institute’s new exhibit, “Superfine: Tailoring Black Style”. Kicking off on the first Monday in May with The MET Gala, the exhibit which is inspired by the work of Monica Miller, and her book Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity will explore the indelible influence of Black style through the lens of dandyism from the 18th century to the present day, offering a rich historical perspective on this vibrant aspect of culture.
For decades, Black queer individuals have undeniably been flamboyant global trailblazers in style, language, pride, and resilience. The roots of dandyism in the Ballroom Scene can be traced back to the early 1970s with the emergence of Erskine Christian, a pioneering figure who was among the first gay men to compete in the “Best-Dressed Man” category. At that time, this category was exclusively for heterosexual men, frequented by gangsters and dealers from Brooklyn and Harlem.
By 1989, as Ballroom transitioned to Midtown Manhattan, the “Best-Dressed Man” category evolved to include same-gender-loving men like Bear Pendavis, Antoine Ebony aka Tony Revlon, Bernard Chanel, Darren Armani, Kevyn Milan, Dray Ebony, Vanoy Chanel, and Peter St.Claire. These individuals ushered in a new era of style, emphasizing meticulous tailoring and high-fashion designers or custom-made suiting, shifting the focus towards refined elegance. The category has since been updated to “Best-Dressed Spectator,” reflecting its evolution and broader appeal.
The influence of dandyism in Ballroom fashion didn’t stop there. The emergence of categories such as “Labels, Labels, And More Labels” and “Head to Toe Ovahness” amplified this influence. Competitors in these categories showcased high-fashion European and American designers, leading to the development of further categories like “High Fashion Sportswear,” “Town and Country,” “Shopping Down Madison/ Shopping Up Fifth,” “Yacht Wear,” and “High Fashion Avant-Garde Bizarre,” demonstrating the expansive creativity and dedication to high style within the scene.
The critically acclaimed 1990 documentary ‘Paris Is Burning’ offered viewers a glimpse into the prestige and competitive dynamism of the menswear categories, featuring a memorable scene with David Ultima Extravaganza highlighting the essence of dandyism through a debate about the proper button placement on a coat. This moment captured the meticulous attention to detail that defines dandyism within the Ballroom lens.
Throughout the Ballroom Red Era (1986-1990), Black Era (1991-1998), and Blue Era (1998-2005), menswear in Ballroom developed a distinct and curated style, championed by risk-takers such as Efrem Dupree, Kim Pendavis, Junior Overness, Chris Dupree, Father Tony Overness, Father Maurice Ebony, Father Derek Armani, Gene Pendavis, Chucky Dupree, Lowell Khanh, Father Max Debujack Ebony, Father Raphael Excellence, and John Moschino Infiniti. While a sharp look is essential for the Ballroom floor, winning requires ultra-sharp tailoring (primarily suiting), striking accessories, and impeccable footwear – a testament to the “Sapeur” culture of Kinshasa, reimagined through a queer lens, showcasing a unique fusion of cultural influences.
Dandyism in the Ballroom Scene extends beyond queer men. Iconic figures like Stephanie Milan, Simone Prada, Jessica Evisu, and Brittany Ebony embody this spirit by blending sartorial elegance with couture presentation in their womenswear, consistently making a stunning impact on the judge’s panel year after year.
Specialized Ballroom categories like “Executive Realness,” “High Fashion After 5 Evening Wear,” “Haute Couture,” and the unique “Nostalgia” category (where competitors recreate fashion styles from specific eras) further illustrate the impactful expression of dandyism and the limitless creativity within this culture, demonstrating the depth and breadth of fashion appreciation within the Ballroom community.
John “Kansai” Moschino, a participant in fashion categories since 1979, notes, “Whether you are at The Latex Ball, a runway show, or the MET Gala it comes down to who gagged the crowd the most! I’m here to be a crowd pleaser, I always think about what the crowd wants to see.” He also reflects on the enduring appeal of classic tailored suits and the importance of individual style: ” A fitted blazer is timeless, back in the day we thought we would be wearing space suits from The Jetsons by now but the pinnacle of men’s fashion is still a tailored suit. Anyone can buy the same designer bag and same designer hat, but you won’t ever wear it like me, that’s a real fashion person.” Emphasizing the legacy he wishes to uphold, Moschino adds, “There are not many of us from my era still walking, I feel if I stop, this generation of judges will just allow anything to get 10z which waters down the integrity of the categories… there are a few men on the floor now that do truly get it, Reco Chappelle, and Nick Allure are always done but after 45 years walking, I still have the drive to serve and still need to audience to gag over what I have on THIS TIME!”
The lasting influence of Ballroom style pioneers like John Moschino is evident in contemporary figures like 10-time grand prize winner Father Nick Allure. He explains, “In the Ballroom, best dressed isn’t about excess — it’s about precision. Every line, every stitch, every stance speaks before you ever do. Elegance is your entrance, and tailoring is your weapon. Everything is intentional: how you walk, the way you dress, how you carry yourself. There’s something powerful about commanding a room without saying a word…” Inspired by Dapper Dan’s attention to detail, Father Nick Allure emphasizes, “Tailoring is everything. I make sure my pieces are cleaned, pressed, and ready — no wrinkles, no excuses. Grooming is locked in, and I give myself space to settle into the energy I want to bring. It’s mental and physical. When I walk into that room, I already feel like the category — I’m not dressing up as it, I am it.”
Fashion editor and TENz Editor-At-Large Chad g. elaborates on the broader essence of dandyism: “Everyone thinks that dandyism is just about nicely tailored suits and flowers on lapels. Yes, that can be part of it, but it’s more about a perspective, a taste level that pervades all aspects of your life: the way you decorate your home, the way you think, the ways you expand your mind beyond the ordinary through art, activism, creativity. It is the possession of a “quasi-queerness” more than just a closet full of clothes. A TRUE Dandy can- through sheer will and confidence- make a t-shirt and cutoff jeans just as visually compelling as a double-breasted blazer and penny loafers.”
This Monday, we anticipate witnessing incredible displays of style and are eager to see who will take home the grand prize. The Butch Queen Best-Dressed nostalgia better carry in the name!
Photos by Sailey Williams | Chantal Regnault | The Fine Art Of Ballroom.
Special Thanks to Ballroom Archivist Derek Prada Ebony, Nick Allure and John Moschino for contributing to this category retrospective.
Check out a few Best Dressed & Label Category moments in the playlist above!
