In 2008, The Hundreds released an official Disney collaboration centered around an unlikely bunch of characters, The Lost Boys from Peter Pan. Nowadays, it’s fairly common to see streetwear brands working with the House of Mouse. At the time, it was unprecedented to see a small independent brand from such a niche subculture within fashion working with such a big corporation.
“I think that also spawned a lot of other Disney collaborations with streetwear brands over the years,” Bobby Kim, aka Bobby Hundreds, tells Complex. “To start The Hundreds' big collaboration history through Disney and then to wind up where I am now at this point in my life where I am working alongside the creative team here at Disney, it was a huge milestone.”
Fast forward 17 years, The Hundreds’ co-founder is still making clothes featuring Disney’s iconic animations. The equation is just a bit different now. In March 2025, he announced that he would be stepping away from his legendary streetwear label to become the Vice President of Creative at Disney. The latest big projects he’s overseen is a first for Mickey Mouse in his nearly 100-year existence. Mickey is hitting the Formula One track through an official 25-piece collection of apparel and accessories.
Alongside typical gear like hoodies and T-shirts that mix racing-inspired motifs like checkered flags and race tracks with images of Mickey, there are also standout items like windbreakers and caps that resemble the ones you may see on your favorite drivers in the paddock on race day. The launch is in celebration of the third annual Las Vegas Grand Prix, which will take place on Nov. 22. It will be available through a special activation in Vegas that weekend, as well as DisneyStore.com starting on Nov. 8.
Ahead of the big release, we spoke with Kim about bringing together two huge brands, the differences between designing for The Hundreds and Disney, and more.
What has been the biggest difference creating for a huge corporation like Disney versus what you did for so many years as an independent streetwear brand owner?
Half of it is exactly the same, which is coming up with inspiration and then adding my own spin on it. At Disney, the second part of that is a little bit more complex because. I'm drawing on 100 years of legacy, storytelling, and art that was created by the masters. I'm also working alongside peers. It becomes a team sport instead of it just being a solo show.
The quality and the level of output is something like I've never been around before. It's been a lot of growth for me. I look at my work differently because it's within the fabric and the mosaic of larger work. It's not just my perspective, it's history's perspective. The scale of the work is so tremendous. Disney and its properties and the thousands of characters that people have relationships with, it's so pervasive within culture that wherever I travel in the world someone has an emotional touchpoint with this brand. That's something that I didn't know how to design for before I came in here. Within streetwear, it's such a niche process and such a niche way of working. It's very much a private conversation. Here, it's on a public stage. It's the same type of work, but the materials I get to play with at this stage is of a heightened caliber. I've never had that luxury before.
What has been the biggest takeaway since you started at Disney? Do you feel like it unlocked something in you creatively?
It's been cool because it's not selfish work. When you own your own brand, you’re alone in a vacuum. Then, you come here and you really have to be selfless in the endeavor. You have to be mindful that you are working with materials and information that has been here long before you're here and will be here long after you're gone. I feel privileged to play on this field. I didn't invent this sport. This sport wasn't about me. I have a perspective on it that I'd like to add my fingerprint to the fabric of the history of this company, but it's not my company. I actually love it. There's no ego at the center of it.
There's a glamour and a magic to working that way. When I'm telling my story through The Hundreds, I'm thinking about that brand. It's very much about the story of Bobby and Ben. With Disney, it's everyone's story. So when you design, it's just a completely different way of designing and a different mode of expression.
This is a full circle moment. The Hundreds x Disney collaboration from 2008 was such a watershed moment for your brand at that time. How did it feel to put this big project together for Disney with that being a big piece of your personal history?
Just working at Disney is closing a big circle that took decades to traverse. I am obviously a huge fan. Walt Disney's artwork has guided me throughout my entire life. As early as I can remember, I was drawing cartoons in the spirit of Walt Disney. Much of my storytelling, much of my writing, the way that I understand world building, comes from the Walt Disney company and all of its franchises. When we started The Hundreds, we were parroting so much Disney art because it had so much meaning to me. Our first big licensed collaboration was with Disney. And this was at a time when it was relatively unheard for a streetwear brand to collaborate with a large company like Disney.
But we did it from a place that had a lot of heart and there was a lot of personal storytelling wrapped up as to why Peter Pan and the Lost Boys had significaI think that also spawned a lot of other Disney collaborations with streetwear brands over the years. So, to start The Hundreds' big collaboration history through Disney and then to wind up where I am now at this point in my life where I am working alongside the creative team here at Disney, it was a huge milestone. It had a lot of meaning for me.
F1 has been a huge global sport for many years. We've seen it grow so much in the past five years or so in the US. How was it to explore the sport and its universe through the lens of Disney and Mickey?
When I joined the company earlier this year, one of the first projects that came across my desk was this F1 deal. Both brands are backed with so much legacy and history. When you think of F1, you're thinking of fast cars on the track. You're thinking of rock-star drivers. The reason why that brand has so much resonance is because there are generations of fans who have story told what that sport means to them along the way. There's so much heritage there. And same with Disney. So how do you draw on both of those legacies but also tell a very future looking story with the product?
Would you talk a bit more about the collection that you and the team designed?
It was really important to acknowledge the history of F1 and also make Disney feel very familiar. At the same time, we didn't want to saddle it with a heavy past. Disney and F1 are very forward looking and this is a fast sport. There's a lot of drama, and so we also want to communicate that through the product. It needed to feel nostalgic but also very new. It needed to feel like the past but also very progressive. I didn't want it to feel retro, which is something that would probably be the easiest and most obvious answer. I think it would've felt a bit dated.
Do you have a favorite item?
I think the jackets and the headwear are some of my favorite pieces. There's something that I don't think you would typically see from Disney products.
Mickey is the focal point of the designs throughout this collection. Can we expect this to grow to include more of Disney's vast array of characters in the future?
Mickey is the immediate touchpoint people have with the Disney brand. That's who's going to commemorate the launch in Vegas. We're going to have Mickey out in front of the Bellagio. You're going to see Mickey trackside hanging around. I think it was the perfect way to introduce the idea of Disney and F1 coming together.
And I think it is important to call out, Mickey isn't necessarily the protagonist within the design spectrum of the product. He's not always in the foreground. That was important because F1’s audience is a bit more sophisticated. We didn't want the product to feel too young. We'll get to that point eventually, but to start, we were trying to approach it from a way where any F1 fan would find it palatable, but any Disney fan would find a little bit of their world within the product.
We are going to start pulling in some other familiar characters. It's a sport about cars. There's obvious characters in Disney's universe.
For me personally, and this is not something we're working on, but my favorite characters are Roger Rabbit, Peter Pan, and the Lost Boys. I would love to see that happen.
Is there anything that you're excited to create in the future through this role at Disney that you haven't had a chance to really explore yet in your career?
I've just joined the company and it's a sandbox for me. I'm exploring and experimenting and getting to imagine all of the opportunities. There are many projects that I've initiated since I've started here that we're going to see start rolling out over the next few years. Things take a little bit of time at Disney. It's not like streetwear where I can come up with a cool project and have it released within the next week. Everything is a lot more thoughtful and strategic.
I would love to impact the product in a way where it's known for its quality, for its design progression, and for making a statement. It adds to the tapestry of the Disney brand in a way where people associate our products with the best in the world. You're in the cathedral of the world's most leading contemporary artists. I want the product to be considered the same. And that's not just in fashion. That's within toys, collectibles, food, technology, anything.
I also want to work really closely with the community. I think some of the greatest work that's come out of The Hundreds is how we have connected a strong community together that feels like they can find a place for themselves in this world belonging through a brand. Disney already has that. I have a lot to learn from them, but I'm also here to help facilitate bridging them together. The conduit will be products, but it's important for us to make sure that we're mindful of that community. This brand is really nothing without them.
Will we eventually see Disney tapping in with more smaller creatives and streetwear brands?
That is one of my goals for sure. I have opened up some really interesting and fun conversations with designers and brands that we've never worked with before that have always had an interest and just didn't really know their way into the company. We'll see how those conversations play out over time. This isn’t just mainstream streetwear brands. This is the underground artists and the emerging brands. We're going to be bringing them all into the fold.