When I learned that The Met was celebrating the Black dandy, I was a bit blown away, to be honest.
Black dandyism, the men who came before us—curator Monica L. Miller’s work and how she explains this history in the exhibition “Superfine: Tailoring Black Style”—it’s all so important to learn. What hit home hardest is how far back it goes, and that there are so many different ways to present as a man; you don’t have to be traditionally masculine. And Black men have always had to be more excellent than our white counterparts. I’ve seen that with my father and with me—we needed to be overachievers. That’s why this theme is just so important to me.
When I was growing up outside of London, there were no museums near me, there wasn’t much diversity, and there certainly wasn’t any exposure to fashion.
So I lived vicariously through magazines and music videos and films. The people I looked up to—it was Muhammad Ali, it was Michael Jordan, it was Eddie Murphy in Beverly Hills Cop wearing that cool leather jacket. And then a little bit later I started to learn about Cab Calloway, James Baldwin, Nelson Mandela, and André Leon Talley. I saw how their image was so important to them, and how they presented themselves through fashion.
At the same time, I was trying to understand how I wanted to present myself. As a teenager I didn’t have any money for clothes; my family and I spent it all on racing. So I would wash cars along my street for pocket money and go to the little thrift store in town and get the Tommy Hilfiger pieces that I saw in music videos. They gave me the confidence to show up and say, “This is who I am.”
Just before I got to Formula 1, I remember being looked up and down by a boss, and he definitely wasn’t impressed with what I was wearing. I was probably in FUBU and Timbs. I remember thinking, Shoot, I’ve really got to fit into this mold. And my dad expected me to fit into that mold too. Sometimes I would dress one way leaving the house, then drive down the road and change into a baggy, swagged-out look. I would go out and have the best night ever, then change back into what I left the house wearing before I came home.
When I first signed with F1 I was only allowed to wear suits and team kits, and it was horrible. I didn’t feel comfortable, and I didn’t feel like I was able to be myself.
Eventually, I had the courage to push beyond those boundaries and say, “Look, I want to turn up to the track in what I want to wear. I’m here now—you can’t get rid of me or change the way I dress.” The pushback was massive, but when the sport saw the impact of my little runway, other drivers started doing the same thing.
Of course, I always wanted to go to the Met Gala, and I got invited for the first time in 2015. It’s always been a privilege to attend, but in 2021, I no longer wanted to just be another person in the room. I was working with Law Roach, who is a dear friend, and I was like, “What if we created a table together where we invite a few up-and-coming Black designers, have them dress some guests, and we all show up together—so it’s about creating space and opportunity?” And also, I was going to buy the table myself. Of course, everyone looked great, but I felt like that night opened up a dialogue about amplifying underrepresented voices and talent.
Naturally, I hope this year’s Met Gala sparks conversation and reconfirms the connection between fashion and self-expression, and how deep it runs in Black culture. I hope it allows us to show that we have ownership of our identity and how we see ourselves and how we see one another, and how we use fashion to combat preconceived notions with humanity and dignity. If you think about where we are in the world—and particularly in the States, in terms of people pulling back on diversity—I think this Met Gala sends a really strong message that we must continue to celebrate and elevate Black history.
When I look at the images of Black men from the past—images like the ones in the exhibit—they were so stylish. My stylist, Eric McNeal, and I have been thinking about how I’m going to turn up at the Met Gala. We’re both very thoughtful and intentional when it comes to fashion, and I hope that everyone else attending is compelled to really research and think deeply about what they’re wearing. I also hope people take time to see the exhibit; the storytelling is amazing.
Timing is everything, and to have co-chaired a previous Met Gala wouldn’t have been as special. I’m really proud. (Also, I remember watching Pharrell as a kid and thinking, He’s so stylish and cool. It’s surreal for me to now be co-chairing with him.) The moment is going to be huge. A testament to our legacy. A message that it can’t be erased.
In this story: grooming, Yuko Fredriksson; braiding, Angela Torio Rivera; tailor, Judith Grant; manicurist, Adam Slee. Produced by North Six. Set Design: Ibby Njoya.
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