Off The Court: Style of the WNBA is a series highlighting women in sports and their impact on the global fashion industry.
For Courtney Mays, sports and fashion are inextricably linked. As the daughter of a former NFL player, the Ohio native has always understood why and how the two industries converge. From WNBA legends Sue Bird and Tina Charles to Brittney Griner, Breanna Stewart, Chris Paul, and more, Mays, 41, has dressed a long roster of fashion-forward clientele spanning multiple professional sports leagues.
With over 16 years of experience, upon graduating from the University of Michigan, Mays started as an intern for womenswear designer Tracy Reese, who has dressed former First Lady Michelle Obama. Now, she’s carved out her lane as a menswear consultant, celebrity stylist, and advocate for representation and inclusion.
“We’ve been looking at athletes as influencers for as long as I can remember, from before I was even here,” said Mays. “I think we should continue to do that. And I think that women need to be a part of that storytelling as well.”
“If I can help the girls feel powerful, confident, and stylish, and it’s through menswear? I think that’s where I kind of feel successful and feel like I can do my best work,” said Mays. “To make sure that they are the best versions of themselves, and that clothing can be used as a storytelling moment for whatever it is that they want to expand off the court.
As a 6’0″ Black queer plus-size woman, she intimately understands the importance of diversity in fashion, namely showcasing the breadth of looks beyond the traditional gender binary. In a league where 80% of players are women of color, the majority of whom are Black, and led by queer women, Mays has built a brand ensuring that all athletes, especially those with more androgynous or masc-presenting style sensibilities, feel seen through fashion.
Mays said, “I think that what’s so beautiful about the league is that there’s a diversity of women. There’s a huge queer population in the league, and I feel like we should see that. If that’s through style, then I hope to be a voice in it.”
Below celebrity stylist Courtney Mays talks to ESSENCE about her journey dressing athletes, styling Brittney Griner and Sue Bird for some of the biggest moments in their careers, and what she believes is missing from fashion coverage of the WNBA.
ESSENCE: You’ve previously talked about your parents shaping your conceptualization of style and identity. Tell me about your earliest fashion memories and what your relationship with clothes was like growing up.
It’s crazy. My relationship [with] clothes is sort of bittersweet. My mom was an international flight attendant for 38 years with United Airlines. As a kid, I remember watching her get dressed in her uniform at four o’clock in the morning for those six a.m. flights and being so mesmerized by the vest and the tailoring. It was, in theory, a menswear-inspired suit. My dad always has beautiful cufflinks, watches, and pinky rings. I think the way that my parents sort of adorned themselves and the way they took pride in how they got dressed has always been something I’ve reached back for. I am constantly shopping for menswear accessories, tie pins, and tie bars. I’m a plus-sized woman. I have pretty much been a plus-size person my entire life, and so I think fashion has been sort of a struggle for me. But I have been able to flip it on its head and find ways to get creative, to find things that fit me and that work for my body. I think maybe that’s part of the reason why I do what I do because selfishly, I’m like, “Well, let me find some cool shit for me too.” It’s crazy because it’s been a journey. I think my love for menswear comes from a space of having to shop in the men’s department because there were not things for me, but also just because my parents kind of did it in a cool way.
What led you to intern for womenswear designer Tracy Reese and Rachel Johnson, later known as LeBron James’ stylist? What were the most valuable lessons you learned from them?
So, my degree [from the University of Michigan] is in art history. I moved to New York thinking I was going to get my master’s and try to get into the Sotheby’s program. But I was swept away by fashion in New York. I think it’s hard to not be. You’re constantly just walking the streets, being inspired by what people have on. I think working with Tracy, just starting in the retail space, was such an eye-opening experience because she allowed me to understand the business of fashion. I had no idea that there were so many working parts to make a garment, to sell a garment, or to market a garment. I went from dressing the mannequins and helping out at trade shows to then interning with Rachel, who, for me, is such a trailblazer in my world. She was the first person to say, “You know what, this sort of convergence of sport and style is really important, and people need to look at athletes as influencers.”
I saw the Vogue cover with Angel, and I feel like the tagline was like, sports is finally in style or something. And I was like, “This is great, but also we’ve been doing this for a long time.” I’m glad that the girls are getting the shine! But I think athletes, even before our generation, have been style influencers for forever. Look at Walt Frazier even, Magic Johnson. There’s so many people that have been bridging the gap between sport and style, and that is our culture. So I learned that quickly from both of them. I say all the time, if I did not go to New York first, I don’t know if I would be as successful as I am. Because I think you learn the hustle and the grind. “No” is not an answer. You find a solution before you come to somebody with a problem, and you’re proactive about getting the job done. I think all of that is so important in the world that I work in, because also I’m an entrepreneur, and I think advocating for yourself is sort of the name of the game.
How did you translate the skills that you learned to styling female athletes? What was the catalyst for your transition into menswear, and how did you bridge those things together?
When I was still assisting, Rachel was in talks with The WNBA. When there’s a new class of players, the rookies come in and there’s a seminar that happens before the season starts. This happens in the NBA and the WNBA. They talk to you about your finances, etiquette, brand building, etc. It’s like, “Now, you’re in the WNBA. This is how to do this.” Rachel [wanted] to expand this seminar to have a conversation with the women about style, the value of style, how that plays into your brand, and how it can influence your business off the court. There’s this crazy picture of me, Kesha McLeod who styles Serena Williams, Rachel, and some other people that used to work with us at this WNBA seminar. It was maybe 2011, and we were trying to talk to the league to get them to understand the value of style, the way that fashion can have an impact on the league’s brand, but also all of the players’ brands.
[Then], I started working with WNBA player Tina Charles. I think we were all trying to figure out what her style was. Nobody really knew what it was like to have a stylist. It’s so crazy to see her now, [and] how her style has evolved so drastically. She’s probably one of my favorite, best-dressed people in the league. It’s been a long journey. I’ve been working with both the NBA and the WNBA, but I think that my love for menswear has had an impact on my desire to work for women that are in the WNBA, because I know that there is such a huge gender-fluid community within the players. I hate to gender clothes, but I think even if it’s not about women [who] are masculine-presenting or women [who] want to dress a little bit more gender-fluid, size is a thing! So having to shop in the men’s section has probably been the story of many of those women’s lives while they were kids trying to figure out what’s where. I think that if I can help curate that in a way that makes the girls feel powerful, confident, and stylish, and it’s through menswear, I think that’s where I feel successful and feel like I can do my best work.
What was it like dressing Sue Bird in her final season before retiring? And how did you get connected to Breanna Stewart, co-founder of Unrivaled? As a New York Liberty fan, I noticed her tunnel fits glow up.
Sue is an icon for me, I dressed Sue for the first time for a State Farm commercial. We talked about it on her podcast, but she was in a skirt suit. To be able to work with her in her final year, she was really transparent and vulnerable with me. She said, “Hey, I’m just trying to figure out what my style is. I kind of feel like dressing more masculine helps me feel more feminine. What are your thoughts on that?” The fact that she chose to work with me was such an honor and was an amazing experience. I consider her a friend.
I dressed Stewie for the ESPYs like 10 years ago. This world is about relationships, so I stayed in touch with her team. I think they saw the work that I was doing with Sue and how that kind of turned into a great moment. We were able to see the evolution of her style; they reached out and said, “Hey, would you be interested in working with Stewie?” And I was super excited, almost to prove to myself that I could do better than the ESPYs look. Also, Stewie worked with June Ambrose before, and I was so intimidated by that. How do you go after June Ambrose? What do you do?
We’re so used to working in a space where somebody is sample size, or you can throw anything on this size zero model, and it’s going to be great. I think there’s so much time and effort that has to go into evolving someone’s style and also understanding the fit and proportions based on their body type. I was like, “Okay, let that be my sort of goal here.” I’m not trying to take anything away from June Ambrose, because obviously she’s the GOAT, but let me try to figure out ways that we can elevate the fit so that it works for Stewie. I was intimidated, but we’re still on the journey. We’re getting there!
What do you think is missing from WNBA fashion coverage? You’ve been such a proponent for inclusivity—and vocal about the fact that the headlines and outfits we give attention to seem like an attempt to appease the male gaze. What do you think gets lost in translation?
I think that a couple [of] things are happening. You said it, and I’ve said it 1000 times. I think the media is showcasing these women from the male gaze. What’s lacking is that there’s such a diversity of athletes just within the sport of basketball: in size, in color, in background. I think that we’re missing that. Right now, what we’re seeing is the girl that kind of looks like what typically men want to look like. I talk about the Skims campaign often, and I think it was such a missed opportunity to show the diversity that is the WNBA. How cool would it have been to see Chelsea [Gray] or JJ [Jonquel Jones] in a Skims, boxer brief, or sports bra. I think that would have been such an awesome display of the diversity that is the WNBA.
I think also, on the business side of things, you’re missing out on so many dollars just because you’re refusing to show all of your offerings and all of the different types of women that your products can work for. I don’t think the super femme girls are not stylish, but I just think let’s look at other folks, you know? I think that in any situation, there’s such power in showing that there are so many different types of people that create this league. If we’re just talking about business, there’s so much product that can be showcased, sold, and celebrated by showing it on different bodies.
Who are some names that come to mind for you, with respect to which players showcase more masc-presenting or gender-fluid style? Who are people that are left out from the discourse.
Courtney Williams is on the top of my list, for sure. Tasha Cloud. Arike Ogunbowale. I can’t not say Tina Charles. Tina’s 6’4” and she gives every single time. She is so effortlessly cool. Yes, I help in that, but that’s also her style sensibility that I help elevate.
You’ve carved such a unique lane dabbling in androgynous and gender-fluid styling. What brands do you frequent when dressing WNBA players and why?
It’s interesting because I feel I try hard to not be brand-specific. I do feel there have not been a ton of brands that are extremely supportive. As much as it seems the headlines are resonating, I think the logistics of it all hasn’t quite happened. That’s a different story when you’re still trying to pull [clothes]. There’s a lot of education that I have to do within the fashion community, explaining who Breanna Stewart is, who Sue Bird is. I’m trying to not only be the stylist, but almost the publicist in a way. I think those conversations are helpful, but still frustrating because you look at Instagram or any headline about sport and style and presume there’s so much synergy there. But I do think there are a few brands that I love.
Issey Miyake has been really generous. Tibi has also been great. I also think about brands that already have relationships with athletic companies. KidSuper has a partnership with Puma, so I think they’re always toeing the line a little bit and allowing women [athletes] to wear things from their runway show. Amiri has been sort of interested in dressing both the guys in the NBA and players in the W. I am always interested in smaller designers and emerging brands. Mouty is one that’s really great. There’s Found, Frame Denim, Good American, Russell Westbrook’s Honor The Gift.
I think this is very new. When I was dressing Sue for her final year, the lengths by which to get clothes were vast compared to now, where people are starting to understand the importance of the tunnel walk. Also, I think there’s a conversation there about size inclusivity, just because it kind of goes both ways. For Chris Paul, you say “NBA player” and they assume that he’s like 7’0” when he’s really like 5′ 10”, then it goes the other way in the W. You say “female basketball player,” and they assume ultra feminine mini skirts and crop tops. It’s just a lot of education that has to happen.
What is your approach to styling athletes, and what do you prioritize?
It’s different per client. My goal as a stylist is always to help to elevate or augment what you love already. I think the process of how I work is similar for everybody, whether it’s Chris or Tina or Breanna [Stewart] or whoever. I think what I bring to you is based on what you love. We might have a little battle, because I’m saying something so minor, like, “Hey, let’s go slim instead of wide leg, just because that fits your silhouette better,” or “Maybe the oversized is better for you.” I don’t necessarily come with, “I want you to look this way.” I come with suggestions.
There’s a lot of mood boarding. I want to hear from each client what they like, [and] what they don’t like, then I take that as a guide to figure out how to elevate. Of course, I like to bring things that might push their boundaries a little bit. I might say, “Hey, this is a brand that we should try to align ourselves with because they align with your core values as a business person.” But other than that, it’s a collaborative process. I try to just take the things that they already like and take them up a notch. I just like to make sure that they are the best versions of themselves, and that clothing can be used as a storytelling moment for whatever it is that they want to expand off the court.
On the note of significant moments, you styled Brittney Griner and her wife Cherelle for the Met Gala in 2023, which was one of her first public appearances following detention in Russia. What led to that specific Calvin Klein ensemble, and what did that moment mean to you?
It was life-changing. Whether it’s Chris [Paul] repping HBCUs or Sue [Bird] playing with gender fluidity in the way she dresses, I’m always trying to work on projects where it’s not just about the clothes. When Brittney Griner’s team asked me to be a part of that moment, that was my first Met Gala, so I was through the moon, for sure. It was a learning lesson for me in terms of how it works, because it’s very specific. Anna [Wintour] gives [a list of] designers that she thinks are appropriate. You go through this list and decide what you think might work for the client based on this very specific list from the Vogue team. What I thought was powerful about Calvin Klein is one, Calvin Klein is an iconic American brand. We really wanted to celebrate the patriotism of it all. I also think that we went with this sort of creamy blush white — it had several different iterations colorwise—but I think it was really about their love story and their connection to each other through this process.
We used white as sort of this symbol of synergy for them, the light at the end of this terrible journey that she went on. Calvin Klein was also reigniting their ready-to-wear collection, so they were wanting to use certain fabrics and silhouettes. You’re kind of working along with them and their atelier, making sure their concept is able to come to fruition [for] your client. It’s a collaborative process. It’s not just me making the decision. It’s a team of people [who] are pushing for a certain look; when you’re invited by Anna Wintour, you do what you have to do. I think what we were able to capture is just the stoicism that is Brittney and that her strength is beyond. We wanted people to see the greatness and the grandness of her. You were able to see that she is so statuesque. I think we were able to achieve that.
That certainly shows in the Griner’s photos from the Met Gala. Brittney’s suit is so crisp, and Cherelle looks phenomenal. I know The Cut called you “A Master in Fit,” so I’m curious about what role tailoring plays in your styling, especially when clients like BG, Chris, and Tina are all vastly different heights.
I believe heavily in using a tailor. A lot of people wait to use a tailor for special occasions, like a gala or a big business meeting. I think the French way; you should tailor everything. You have a favorite pair of jeans and you need to nip the waist? Just do it. It’s a couple of bucks. It can happen at the dry cleaners, especially in major cities where there’s always a tailor connected to the dry cleaner. Maybe it’s your auntie [who] has the sewing machine. Utilize that, because I think that changes the way that your clothes fit and the way that you stand in your clothes.
When you have something that is too big, too short, or too long, I feel like you slump over because you know you’re not feeling like your best self. For the Met Gala, for sure, it [took roughly] three weeks of tailoring. I remember with Kevin Love, we were in a fitting and we tailored the sleeve of a T-shirt. I was like, “Okay, what are we doing? Like this has gone too far!” But I think it’s so important, especially with the things that you wear on a daily basis, no matter the cost of the garment or the occasion. I’m a huge fan of a uniform. You love a wide leg jean and a T-shirt, and that’s your go-to uniform? Make sure that they fit right. I get on my clients a lot because they’ll say, “Oh, we’ll save that for a nice occasion. We’ll save that for something cooler.” Why? Wear it now! If it makes you feel good when you put it on and you’re like, “Okay, I’m feeling myself,” then that’s when you do it.
What does it mean to you to see the convergence of style and women’s sports, specifically in the WNBA?
I’m excited. I think we can only go up from here. The fact that we’re having these conversations is so powerful. The fact that there’s attention being paid to what the women are wearing, and it’s turning into brand partnerships for them and business deals is so important. I also think that athletes as influencers [are] a cultural norm. We’ve been looking at athletes as influencers for as long as I can remember, from before I was even here, and I think we should continue to do that.
I think that women need to be a part of that storytelling as well. For example, the Unrivaled tunnel is sponsored by Sephora. That’s a big step in the right direction. Women athletes are getting their own shows. You’re seeing A’ja [Wilson’s] jersey retirement and I was just looking at her outfit—and I think that part is cool. If it gets more eyes on the league and if fashion can be the way to do that, I’m here for it. I hope that as we move into this next season, if it’s just me screaming from the rooftops, “Let’s see the diversity of these women!” then I will continue to scream. Put Chelsea and Courtney on the cover, along with Angel [Reese] and A’ja. I think that what’s so beautiful about the league is that there’s a diversity of women. There’s a huge queer population in the league, and I feel like we should see that. If that’s through style, then I hope to be a voice in it.
2024 marked the 100-year anniversary of the Harlem Renaissance. We’ve seen a resurgence of interest in the era, which you’ve previously said inspires your work. What are your thoughts on Black Dandyism at the 2025 Met Gala and LeBron James being one of the honorary co-chairs?
Black culture has been the arbiter of style for centuries, and the Harlem Renaissance stands as a Golden Age of art, music, literature, and fashion. It’s only fitting that we celebrate Black style in such a specific way on a stage this grand. I’m excited to see the many ways dandyism is honored, but to be frank, I’m also a bit nervous. We’re living in a complex time, and I can only hope this moment isn’t overshadowed by ignorance or cruelty.
LeBron, without a doubt, has been at the forefront of the conversation about the intersection of sport and style. I remember 2007-08, when we worked tirelessly to position him alongside the fashion world and push the dialogue around athletes as tastemakers. He absolutely deserves a seat at this table. More than anything, I hope this sets a new precedent—one where voices from all backgrounds, from style to music to sports and beyond, have a role in shaping the Met Gala’s future.