Ignore it. You would have to be extra pedantic to insist on this.

There are perfectly valid reasons for double sharps and double flats in tunes, and within chords, but no need for them in the actual chord names.

Although technically for example a tune in C minor which had a B7 in it would, if it were transposed to G sharp minor, need a F-double-sharp-7, this would be the same as a G7 and no-one in their right mind is going to worry about the difference.