Iconic Helmets and Thrilling Designs: Exclusive Interview with Adrien Paviot, the Genius Trusted by Leclerc and Many Other Formula 1 Drivers.
A helmet is never just a safety device. A helmet is a work of art. Adrien Paviot, the world-renowned French designer, knows this better than anyone: for over 10 years, numerous Formula 1 drivers—from Charles Leclerc to Pierre Gasly, Isack Hadjar, and Romain Grosjean—have trusted him with their helmets. In this exclusive interview, Adrien Paviot takes us behind the scenes of this fascinating world like never before. From the first digital sketch to the final version hitting the track, we explore the creative process behind some of the most iconic helmets ever made.
How and when did your passion for racing begin, and how and when did your passion for helmets and design start?
My passion for motorsport and design actually started almost at the same time. Back in 1998, when I first got into karting, my father and I went to buy my first go-kart. The seller had a plain white helmet, and for some reason, I was fascinated by it. I can’t explain why—it could have been the kart’s livery or the race suit—but that helmet really struck me. From then on, I began sketching helmets at school. So, both passions—racing and helmet design—took root together.
How did this passion become your job? What path did you follow to get here?
There are really two sides to it. I always loved drawing, and I grew up a fan of the French motorsport comic Michel Vaillant. I went to design school, where I pursued that artistic side, while in parallel, I was growing more and more interested in helmets. At first, those two worlds were separate.
The turning point came in 2008 when Franck Montagny, former Formula One driver, launched a design contest. That was also the first big year of Facebook. I submitted my first-ever digital helmet design using Photoshop, posted it on Facebook after winning, and everything changed. Suddenly, people started reaching out for designs. It helped me pay for my studies at first—selling one design here and there.
By 2010, I officially started my design company, though at the time I thought it would be temporary, just a way to earn money before finding a “real job,” as my mother used to say. But then Romain Grosjean asked me to design his helmets, I met Sébastien Loeb, and soon after I began working with Red Bull. Things escalated quickly, and that’s when it became a full-time professional career.
Every driver has a different personality. How do you manage to translate a character, a story, or an identity into a concrete helmet design?
For a first-time client, I use a design form to understand their preferences: favorite colors, design styles, and examples of helmets they like. That gives me a starting point. Over time, as I work repeatedly with drivers, I naturally get to know their tastes—Romain Grosjean, for instance, likes bright orange and blue, while Charles Leclerc prefers clean red-and-white Monaco-inspired designs. Some want complex, modern looks; others prefer classic, elegant lines. So, the process is part research, part collaboration, and then, once I know them well, intuition takes over.
Where do you usually start: colors, symbols, or the message?
It depends, but the process usually starts with the mandatory sponsors. Their size and placement define the “canvas.” From there, I build the design around them. I always begin with the lines, because painters also start with them—it ensures the design is actually feasible to paint. After the lines, I move to colors, then patterns, gradients, and fine details that make the helmet pop.
How much of the final result comes from your artistic freedom versus the driver’s input?
I need a balance. Too much freedom can lead to hours spent on designs that the client might not like. I always ask for some direction—a briefing with guidance on what the driver wants—so I know the framework. From there, I can apply my artistic judgment.
For example, if a driver is undecided about whether they want a matte, glossy, or chrome finish, I give advice based on my experience. But if a client provides an overly detailed 15-18 page PDF briefing, I refuse it because it eliminates any freedom to create. I need some guidance but also room to bring the design to life..
On average, how long does it take to go from the first idea to the final helmet?
The first full design usually takes 4–7 hours. Changes based on client feedback typically take 30 minutes to an hour. Once the V1 is completed, the process moves quickly. However, due to demand, lead times for designs now are about 1.5–2 months. Painting the helmet itself can take up to six months, so it’s a busy workflow.
How do you balance traditional techniques like sketches with digital tools?
I don’t work with sketches anymore. I do everything digitally in Adobe Illustrator, from the initial concept to the final render. I’ve used this software for years, and it allows me to be fast and efficient, which is crucial for meeting deadlines and managing my business.
You work with drivers like Charles Leclerc, Pierre Gasly, and Isack Hadjar. What do they have in common, and what makes them unique?
Charles knows exactly what he wants: clean designs with strong Monaco-inspired identity. Pierre prefers modern, bright, and sometimes intricate designs. Isack is unique because his father, a mathematician and physician, guides the design decisions. This is rare; normally, I collaborate directly with the driver. Each driver brings their own personality and preferences, which makes the process fascinating.
Can you share an anecdote about an unusual request or a particular challenge from a driver?
One fun story involves Romain Grosjean and a Lightning McQueen helmet. Initially, Pierre Gasly asked for an Iron Man helmet, and Marvel approved it, but contractual issues prevented its use. Later, I contacted Pixar and Disney to get approval for a Lightning McQueen helmet for Grosjean’s Austin Grand Prix in 2019. It was a huge success, and Pixar was thrilled. It remains one of my favorite projects.
What kind of personal relationships do you have with the drivers beyond work?
I’m also a TV commentator for French TV and have a history as a racer, so I know many drivers personally. I raced in go-karts and Formula Renault with Romain Grosjean, Lewis Hamilton, Nico Hülkenberg, and Sebastian Vettel, so we share a generation. With the younger drivers, I make an effort to spend time with them.
Max Verstappen is the only exception, due to heavy management protection, but even then, our interactions were very positive. Generally speaking, I believe that personal relationships are one of the keys for me to succeed in my job.
A helmet isn’t just aesthetics—it must respect sponsors, aerodynamics, and the car’s livery. How do these constraints influence your creative process?
Sponsors are a major factor. One of my skills is integrating them seamlessly into the design, which clients value highly. Aerodynamics have less impact on design itself, though the paint job must account for weight, so it’s another consideration. These constraints shape the creative process, but the artistic element is still central.
Do you think the helmet is still a driver’s “signature,” like in Senna or Schumacher’s era?
Not really. Twenty years ago, drivers had fewer helmets per year, often with fewer mandatory sponsors, and the technical possibilities were limited. Today, helmet design is more fashion-oriented, and mini helmets for fans are a huge part of the business. Drivers now often have special designs for each Grand Prix, which impacts how I approach their designs. Some drivers, like Charles Leclerc, still maintain a strong, consistent identity, but it’s a different culture now.
Do you think of your work as part of racing history?
Honestly, no. My focus is on enjoying the design process and collaborating closely with the drivers. Helmets change so often now that I don’t expect people to remember them decades from now. My goal is to create enjoyable, memorable designs for the present.
What is your favorite helmet you’ve ever created?
Design-wise, I’m most proud of Charles Leclerc’s Monaco 2022 helmet. It had a red top over a white base, with detailed elements and sponsors, yet retained a childlike, iconic simplicity. For me, it represents achieving an iconic, timeless design within modern constraints. It’s a piece of work I’ll always be proud of..
Photos: Scuderia Ferrari Multimedia, Adrien Paviot
