Michael Henry Adams, Photo Courtesy of Michael Henry Adams
Michael Henry Adams moved from Akron, Ohio, to Harlem in the 1980s to attend Columbia University’s Historic Preservation program. He soon became a leader in the fight to protect the neighborhood’s notable buildings—like the Audubon Ballroom, the Renaissance Casino and Ballroom, and the Mount Morris Park Historic District—against waves of gentrification, redevelopment, and eminent domain.
Michael is considered “an archaeologist of endangered architecture”; today, his Harlem home is an unofficial museum of the neighborhood’s history.
Adams has written for The New York Times, The New York Daily News, The Guardian, and The Advocate, among other publications. He is a vocal advocate for preserving black history and culture and has written several books on the topic.
A lifesize photo of Michael’s father playing basketball and a photo of Martin Luther King taken by his grandfather dominates the room. Photo by Pascal Perich.
His books include Harlem: Lost and Found, Style and Grace: African Americans at Home, and American Regional Rooms: A New Perspective on Traditional Design.
Michael is a man of many talents. He’s an award-winning preservationist, historian, activist, artist, author, and lecturer. But what truly sets him apart is his unique fashion sense. With his instantly identifiable look, he stands out, even in the fashion-forward streets of New York.
The Dinner Party, photograph by Tyler Mitchell: far left, Michael Henry Adams, Abdou Ndoye, Craig Shimirimana, Von Penn Jr. Dandy Wellington, Grailing King, Lamine Seck, Serigne Sene, and Ike Ude.
Unsurprisingly, he is one of the modern-day dandies and high-fashion models featured in Tyler Mitchell’s 30-page photo spread and accompanying essay in the catalog for the Metropolitan Museum of Art’s Costume Institute spring 2025 exhibition, “Superfine: Tailoring Black Style.”
“Dandyism was initially people attempting to stand out and to be conspicuous in terms of their attire, but gradually, particularly for African Americans, it evolved into a form of self-defense; being able to demonstrate they could dress as finely, have as distinguished an appearance, and even look better and have more style than ordinary white people.” – Michael Henry Adams.
When Michael first learned about the upcoming Costume Institute fashion exhibition, ‘Superfine: Tailoring Black Style,’ he was thrilled. As a key figure in the preservation of black history and culture, his involvement instantly piqued his interest. This exhibition, the first to be solely centered on designers of color and the first menswear-focused exhibition in 20 years, promises to be a significant event.
Black Style Now, Museum of The City of New York, 2006- 2007, mcnyc.org.
When I asked about his initial thoughts, Michael responded, “I thought, oh my god, I wonder if I can become a consultant for this exhibition!” In 2006, Michael was a guest co-curator (along with fashion designer and photographer Michael McCollum) for “Black Style Now,” the Museum of the City of New York’s groundbreaking exploration of the African American fashion revolution from the 20s to the present and its influence on music and global culture.
In the aftermath of the 1943 riot, Harlem kids wore looted formal wear inspired by Duke Ellington.
The exhibition aimed to explore how black hip-hop culture transformed fashion worldwide. Still, as a historian, Michael felt it should all be placed in a discourse on the evolution of black popular style. Even though the Costume Institute exhibition is based on Monica L. Miller’s book about Black dandy-ism that goes beyond America and deals with the entire African Diaspora, there can’t help but be an overlap.
While Michael wasn’t a consultant for the Costume Institute exhibition, in addition to being included in Tyler Mitchell’s photo essays, he was invited to pen an essay for the “Superfine: Tailoring Black Style” catalog, “Finding My Fashion Sense in Harlem History.”
George Walker dressed to the nines during a command performance for King Edward Vll and Queen Alexandra at Buckingham Palace in 1903.
Needless to say, Michael is very vocal about the historical significance of the Black Dandy. He observes that the African American community has a long-standing importance attached to looking well, whatever that means at the time. Traditionally, African American men dressed for success in self-defensive ways to prove their worth as worthy people.
Adams goes even further to point out that in many instances, the ones responsible for making white people look wonderful were the Black people: the valets, laundresses, ladies’ maids, seamstresses, tailors, and barbers.
“What especially fascinates me is how, in the past, fashion was derived from the top down, and now increasingly, it’s from the bottom up.” – Michael Henry Adams.
The one enjoyable and liberating part of expressing oneself is through one’s attire. Michael spoke at length about his love and admiration for Iris Apfel and how she put herself together. Yet, Adams feels very conflicted.
Michael biking on Malcolm X Blvd with flowers for Louis Delsarte at the Mount Morris House Show.
On the one hand, he feels that people should express themselves as vibrantly as they might wish, but on the other hand, he has a rather conventional side. Michael still loves the notion of seasonal changes in dress and colors.
Michael Henry Adams
Even though rules don’t exist anymore, Michael loves using them as a personal guideline, wearing straw hats only in the summer and bowlers only in the winter, for example. While Michael is a stickler for old rules, he is not attached to old attitudes, pointing to Dandy John Wellington’s tagline: “Vintage Style, not Vintage Attitudes.”
At 69, Michael reflects on the role of clothes in his life. He shares that a significant part of his fashion sense was shaped by his desire not to dress like the characters in the 1970s movies Super Fly and Shaft. This personal journey with fashion is a testament to his unique style and individuality.
Michael Henry Adams interviewed Gordon Parks for one of his books.
He says a miracle happened when he saw a catalog from a 1969 exhibition at the Metropolitan Museum of Art, “Harlem on My Mind: Cultural Capital of Black America 1900-1968.” The admittedly controversial exhibition documented life in Harlem through photographs, audio recordings, and film.
Michael was especially taken with James Van Der Zee’s photographs from the 20s through the 50s, showing people dressed resplendently as any Duke, Duchess, or movie star promenading through Harlem.
Couple, Harlem, 1932, Photograph by James Van Der Zee.
This sartorial turning point proved that Michael could dress like Langston Hughes, Jimmie Daniels, or Huey Newton and be authentically Black.
Once Michael got older and came out as gay, it was gratifying for him to learn that so many people he respected and admired for their writing, talent, artistry, and their sartorial style turned out to be gay as well.
Mario Buatta and Michael Henry Adams
Adams admits that people would often stare and laugh when he first decided to emulate these people and wear straw hats and bowlers. That has changed. Adams says most people responding to his attire or Philip Johnson-esque glasses are complimentary.
When I asked Michael what he hoped the public would take away from the exhibition, he said he hoped they would see people whom they admire by reputation or accomplishment.
In the same way, they responded to Prince; they won’t have to worry about risking their masculine identity by being freer and more creative in what they dare to wear. Instead of following a uniform, they should wear something that expresses who they are and their values.
LATEST COMMENTS:
Iris Apfel’s 100th birthday looked like the ultimate celebration—so iconic!
The MAD About Jewelry benefit looks like a stunning event—so much talent on display!
Love the deep dive into timeless fashion trends!
Our comments section is working again…
Our comments section is back online again! We would love to hear from you.