When Colman Domingo sees the outfit for the first time, he gasps.

“I haven’t even put anything on and I’m overwhelmed.”

It’s a warm spring Friday, a few days ahead of the 2025 Met Gala. Domingo, who is a co-host of this year’s event, has just arrived at the Valentino boutique on Madison Avenue with his longtime stylists, Wayman Bannerman and Micah McDonald, and their crew in tow. Inside a private dressing suite upstairs, every spare surface—coffee tables, couches—is covered with cloth-lined trays displaying glittering Boucheron jewels, Omega watches, and silky Valentino bowties the size of bread loaves. Here, Domingo’s custom Valentino look—an ensemble which features a modern zoot suit comprising of a checkered wool jacket and wide-legged trousers, plus a royal blue pleated cape and sequin-embroidered bolero lined with frilly ivory feathers and butterfly detailing—is still hung up on hangers, but the actor can barely contain his excitement.

“Did I die? What is this?”

“Every detail, oh my gosh. I love the color. It’s outstanding.”

“I’m already like, way emotional.”

Then Domingo giggles: “Shall we try?”

Photo: Sekou Luke / Courtesy of Valentino

The Oscar-nominated actor is dressed casually in a black Willy Chavarria tracksuit—an inadvertent nod to his custom Chavarria ensemble from last year’s Met, which paid homage to two late Black style icons, actor Chadwick Boseman and fashion editor André Leon Talley. Both of whom have been on Domingo’s mind in the lead-up to this year’s Met, whose theme, “Superfine: Tailoring Black Style,” centers on a vast history of Black history and menswear.

A few minutes later, Domingo—holding back tears—reemerges in the suit portion of the Valentino look. “Shall we do cape?” he says with a grin, standing on a platform in front of the large three-panel dressing mirror. An Italian-speaking tailor in a white coat places the cape over the actor’s shoulders, and the room goes silent. A twinkly, cinematic instrumental tune plays over the room’s speakers. The room reaches a consensus: The cape will look great on the stairs.

“Bravo, Valentino,” he tells the room, beaming. “Bravo, bravo!”

While Domingo and his stylists game-plan the final fit and accessories, they laugh about a recent tweet that’s been making the rounds online: “Three things are certain: death, taxes, and Colman Domingo having that shit on.” To be sure, come Monday, Domingo’s carefully crafted, deeply researched ensemble will be one of the most discussed looks of the evening.

But there are more surprises in store. Before long, Valentino’s creative director Alessandro Michele, who joined the Roman house last spring after two decades at Gucci, arrives in a quilted yellow jacket, red-and-black Buffalo plaid flannel, blue jeans, and baseball hat embroidered with the phrase “Techno is my boyfriend.”

Domingo and Michele embrace, conferring quietly as the designer lovingly runs his fingers over the sequined capelet. “Bellisima,” Michele exclaims.

Within the next hour, actor Harry Hamlin will swing by to say hello; he’s in the building because his daughter, the model Amelia Gray Hamlin, is also wearing one of Michele’s designs to the Met. So, too, is Domingo’s husband, Raúl Domingo, whom the actor met 20 years ago via a Missed Connections post on Craigslist; he arrives quietly, but Domingo quickly catches his eye from across the room.

“Hi, husband,” Domingo says, beaming from his spot in front of the mirrors. “You want to come see what your husband is wearing?”

As Domingo wraps up his fitting, the actor and I hop into a black SUV headed downtown to the Chelsea Hotel. In the lobby, we chat about the myriad inspirations behind his Met Gala look (which includes his first-ever custom grill), why he knew he would make an amazing Met host, and the cosmic destiny that he and his Euphoria costar Zendaya would become the reigning king and queen of the red carpet.

Photo: Sekou Luke / Courtesy of Valentino

GQ: First off, tell me about the blue. How did you land on this color?

Colman Domingo: This was before I had a conversation with anyone, I thought, “There’s a color. I should wear blue. I should wear what they call the Yves Klein blue.” First of all, my mother said I always looked my best in blue. I thought, “Yeah, I want to wear blue. There’s something about blue.”

And then I went for my meeting with Monica L. Miller [whose 2009 book, Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity, inspired this year’s Met Gala exhibition], and we went through the boards of what the installation would look like.

And then she says, “You know what? One of the original dandies who was a freed slave, he said, ‘I can’t wait to save up to dance on my freedom day in my finest blue superfine wool.’” I literally almost stumbled. I said, “He named a color? That’s the color I want to wear!”

I presented that color blue to my stylists and to Alessandro [Michele]. I said, “It must be blue.” And then I was going through references of history. I started to really center in on the Moors and North Africans who conquered Spain and in many ways influenced when it comes to jewelry and art and architecture.

They were the first people who stunted. They came in wearing all of it. They wore the gold, they wore the emerald and the sapphires, all that. That was a part of their agency. I was having all these conversations, and then I sent all these references, and then I went to the Valentino haute couture show and it was my first haute couture show.

I also thought I would love to jump across the ocean and go to another moment when Black men were really actualizing and defining themselves in fashion. And I thought of the 1940s Zoot Suit Riots, Black and brown men defiantly strutting their style. They didn’t care whether or not clothing was expensive or people were using too much. And they were being attacked for it because they were wearing too much fabric [during wartime rations]. But no, it’s expression. And I love all of it.

There’s also an element of the outfit with the beautiful blue draping, which is a nod to André Leon Talley as well.

Then I have another special moment, but I don’t think Valentino knows. When I smile, I want to smile with my mother’s name, Edith. I’m going to have a grill with my mother’s name. So I’m bringing my mom with me to the Met Gala. And also, it brings it to urban streetwear in the 2000s and brings it forward.

Is this your first grill?

First grill. Baby’s first grill. [Domingo shows me a photo of the grill on his phone.] Gold nugget at the bottom because the first ring I ever bought for myself when I worked at McDonald’s was a gold nugget. When I was 16 years old, I had a gold nugget ring, so it has a gold nugget on the bottom, “Edith” on the top.

Photo: Sekou Luke / Courtesy of Valentino

What was the genesis of this whole look? When did you first meet with Alessandro to start planning?

It started right after the Oscars. I was actually nervous because I was like, “Is that too late? Don’t we need to start talking about this and conceptualizing this?” But I went to the haute couture show, because I became a house ambassador for Valentino. And then, I had one meeting with Alessandro. It just gave me more of a sense of Alessandro and his vision and why he’s as romantic and maximalistic as he is. And I wanted to lean into that. I don’t know if I’m really made for every house, but Valentino, I am. Especially one that Alessandro is the creative director of. I knew that we collaborate well together. But I also knew I had to take the reins on it and just set up the inspiration based on the things that I know that Alessandro is interested in as well.

And it’s exciting for this to be Alessandro’s first Met with Valentino.

Yeah. It sets him up in a beautiful way. You feel that he’s a romantic. You feel like his clothing makes you feel like you’re in a dream. That’s what I like about it too. I just like the idea of a bit more pomp and circumstance in the world. We’re always living in tricky and dangerous times, but our resistance is actually having beauty and love, and it’s got to be reflected in your clothing.

I’m having my own personal party on Saturday night. I said the theme is, “Put that shit on.” And they’re like, “What does that mean?” I’m like, “You don’t know what it means? It’s such a reference.“ I’m like, “Put that shit on.” I said, “This is the time to break out those five inch heels and fur. You want to wear triple lashes? Go far. When do we get to do that?” I want to make that part of everyday life, to look like a fantasy. The real world is so harsh. A great way to access this is clothing.

During the fitting, your stylists were discussing a tweet.

Oh, they said there’s a tweet that says, “Three things are going to happen for sure in your life: Death, taxes, and Colman Domingo putting that shit on.” I was like, “What? I haven’t seen that tweet. Where the fuck have I been?” Naomi Campbell told me this, and I was so taken aback by it: She says, “Colman, you’re made for fashion.” And I still was trying to figure out what that meant exactly from people who I believe are in the fashion world. I’d never considered myself to be a model. Yeah, I’ve got style, but I didn’t know that I would have such influence and impact.

But at the end of the day, I know it’s because I’m an artist and I’m a storyteller, and that I know what to do with my body, and I know that I like to tell stories with that.

I had no idea that I liked the fashion world so much. I love it. I’m like, would I like to be a creative director? Absolutely. Would I like to do a capsule collection? Why not? I would love to collaborate in all these ways. At 55 years old, I do feel like I’m getting another burst of creative energy with another platform that I never expected.

Not only has your film career blossomed in this totally new way in the last couple of years, at the same time, you have this new life in fashion and on red carpets. You’ve been working with Wayman and Micah for years, right? But I feel like there’s probably been a shift.

There was a shift. Well, I can tell you there was a conscious shift. Because I knew that once I started to understand where I existed in the fashion world, I did certain things. I was actually 20 pounds heavier, and I decided to lean out even more. I’ve always been a lean person, but I just had a little bit more weight on me, like a 55-year-old man would have. And once I did that, I also had more access to clothing. So now I get everything, I have my choice of designers sending me things. I don’t need custom all the time, I can actually just wear straight off the runway.

What other resources have been part of the growth of having a new playground to play in?

I’ll tell you this, the thing that’s been the coolest thing is, people on the street—you name it, Black, white, old, young—everybody admires fashion, and they get really excited talking about, “Oh yeah, I love the way you dress. You put that shit on.” Old Black ladies are just like, “I love the way you dress. You’re so handsome.” And again, I think it’s always been a feeling for me. I don’t just dress for myself, I dress to make people feel a certain way. I think that’s important. People, they respond to style. It brings out something good in them.

Or it could trigger them, and they’re like, “Oh, I don’t know about that.” But I feel like that’s the point of it, too: conversation.

I think that that’s why people respond to the Met the way that they do. For one night, everyone gets to become a critic in a fun way.

Absolutely. They’re very clear about what they like. I love that it’s a convergence of so many people in popular culture, and then everyone’s having their own personal expression and everyone’s got an opinion about it. It’s like sports. It is the Super Bowl of fashion.

One of the greatest things that I like right now is as an openly queer man, 55 years old, I have young boys, girls, macho dudes all admiring me. They’re like, “Oh, I love you. I want to dress like you. I wish I could. I think I could.” I’m inspiring generations of men to be like, “Yeah, I want to put that shit on too.” I feel like I have a whole league of people that I’m inspiring, and I see it, and I see the effect. I will take some credit in this interview, for sure.

Please do.

Listen, nobody was wearing hot pink until I wore hot pink Versace in 2021 at that Oscars. And suddenly, it became a thing. Suddenly, it was like everybody was wearing hot pink. And then, I think Valentino did a hot pink collection right after that too. They think, oh, it was a representation of queer culture.

I’m like, “Not at all, actually. It was actually my references to Prince and The O’Jays and Teddy Pendergrass, dudes that I grew up with. That was the nod. I said, “You’ve got to think broader than that, than what you see.” So then people said, “Oh, okay. I get it. You’re doing something different.”

Photo: Sekou Luke / Courtesy of Valentino

How are you feeling about hosting the Met Gala?

You know what? If I don’t know anything about myself, I’m an incredible host. I have great parties. I know about lighting and music and guest lists. When Anna [Wintour] invited me to do that, it seemed right on the money. I was so excited. I couldn’t say yes fast enough. I said, “Whatever’s on my schedule, it’s gone.”

I also think that you have such a palpable enthusiasm. Even in the room earlier, I don’t know if most people become that overwhelmed with emotion when they get to try on this beautiful piece created in collaboration with a designer. It’s cool to witness.

Thank you. I don’t take any of this lightly. I’m emotional thinking about it right now because I feel like, where I come from, this is beyond anyone’s dreams. It really is. I’m living in my dreams and doing everything I want to do in every way. The idea that there would be a team of people waiting for you in a room, that was overwhelming. Walking in, it’s like a wedding day or something. That’s why I hugged the head designer and asked questions like, “How many people worked on this and how long did it take?” Because I knew that so many people were hand beading, stitching and draping for weeks, and teams of people.

It’s overwhelming. I had to keep telling myself, “I’m not going to cry.” I’m a crier.

Have you already connected with your co-hosts?

I have not connected with them yet. I will connect with them on the night of, but Pharrell and I, we’ve gotten to know each other here and there, because I was working with Louis Vuitton a bunch. And then, I haven’t met A$AP [Rocky], but apparently, his grandmother has a crush on me, which I’m really flattered by.

I have also heard that.

I feel like that’s my jam. I’m really for women 70 and above. That’s my audience. And I think I know why: I’m possibly bringing back some romance and whatever that is. I know that my mother always wanted me to be a gentleman, and I hold doors open for women. And I think that’s what I always aspire to be.

That’s fantastic. You said that you were filming last week?

Yeah, I’m filming a film with Steven Spielberg. Very unknown director.

I’ve heard of him.

Exactly. This is a start for him. I’m doing a film with him. It’s starring myself and Emily Blunt, Josh O’Connor, Colin Firth, and Eve Hewson. We’re having a good time shooting that. But I’m doing a lot right now. I’m shooting that right now while I have a musical that I co-wrote called Lights Out: Nat “King” Cole, that is in previews. I’ve been going to previews every night. Dulé Hill plays Nat King Cole and Daniel J. Watts plays Sammy Davis Jr. It is so fantastic and I’m happy with it. That’s been going on as well. And then, I’m preparing to give a commencement speech and get an honorary doctorate, my second one, from American University next weekend, the weekend after the Met. So I’m in the middle of a lot of wonderful things right now, which is good.

Photo: Sekou Luke / Courtesy of Valentino

Have you filmed your Euphoria season three scenes yet?

I filmed some of it right before I came here, in March. And then I go back to finish up my work in July.

How did it feel going back into that world?

Wonderful. Me and Zendaya, we just slipped right into Ali and Rue very quickly. Because we do have sort of, I wouldn’t say father/daughter, but a very big brother, little sister [relationship]. Because even off camera, we talk. We have such deep talks. Every time the camera call’s cut, we’re talking about loss, friendship, style—you name it, high and low.

Sam [Levinson] is such a beautiful director. It’s really simple and easy. The content of the work can be demanding, because that’s the nature of the show. I think we’re going to really create a great season three so far. I love every beat of it.

It’s interesting that since the last time that Euphoria was on TV, you and Zendaya have become the king and queen of the carpet.

Isn’t it wild? It’s wild. We’re the king and queen of the carpet. You’re kind of right.

We see each other, but we see each other, in a way. I’m usually chill like this, and so is Z. When I see Zendaya, she’s got a tank top on, Dickies, and some Converse. And I’m the same. Someone sees me at the gym or something and they’re like, “I love your style,” I say, “I know I’m totally disappointing you right now.” People who have gym outfits, I still don’t understand, because I can barely get it together. I’m just the most basic T-shirt, shorts. It’s where I can be really relaxed, so I have no style at the gym.

You’ve got to clock out sometimes, theoretically.

Absolutely. But I think that’s also the secret weapon for me. You stunt so hard on the carpet and in the magazines that when you’re just being a regular person, no stunt.

In your journey of learning to love fashion in a different way, has there been a temptation to change anything about your more casual, day-to-day style?

My airport style has changed. I shop better for airports, because people will always want a selfie. They’re watching you travel, and you have to look a certain way. I always have a really good pair of suede loafers and a good jacket. I look a bit more dialed-up when I go to the airport. It’s no longer just sweats.