Hats Off to Peter Tosh!  

Peter Tosh was a man of many titles—rebel, revolutionary, reggae warrior. But if there’s one title that he carried with the most pride, it was being a son of Jah Mek Ya. More than just a name for Jamaica, Jah Mek Ya was his declaration and reminder to the world that this little island was divinely made, rich in culture, resilience, and undeniable style. And now, in the spirit of that same declaration, Things Jamaican is carrying on the legacy with our Tings Jah Mek Ya—our campaign celebrating the influence of Rastafarianism on our style, craftsmanship, and cultural power that only Jamaica can produce. But when it came to style, Peter Tosh wore his legacy like armour—bold, defiant, and unmistakably Jamaican. 

While many of his contemporaries leaned into the laid-back, effortlessly cool look, Peter’s fashion was nothing less than confrontational. It wasn’t just about what he wore, but what it represented. His dreadlocks for example, were an outward symbol of his Rastafari faith and African pride. To Babylon, they were rebellious. To Peter, they were sacred.

On top of those signature dreadlocks, one could count that there would be a hat to match. While the knitted tam was a staple among many reggae legends, Peter often opted for something with a little more edge—military-style, and that was, forage caps that reinforced his warrior persona. The field hat or beret, typically associated with soldiers, became a part of his uniform, subtly reinforcing his message that reggae was more than just music; it was a movement. And if you want to channel this same energy, check out the Jah Reason hats on www.thingsjamaicanshopping.com. 

But let’s talk about what made his style unique to Tosh. First, there was the obvious military aesthetic—camouflage jackets, epaulettes, and structured blazers that made him look more like a general than a musician. It was ALL intentional. He wasn’t just there to entertain; he was there to lead a revolution. Whether performing on stage or calling out injustice in an interview, his wardrobe made it clear: this was a man at war with oppression. 

And of course, the colours of Rastafari were ever-present, woven into scarves, peeking from under a military jacket, or embroidered onto his signature tams. Red, gold, and green weren’t just colours; they were history, resistance, and liberation. They weren’t accessories, they were statements. 

But Tosh’s style wasn’t all militant edge. He had an undeniable rockstar quality, and when the moment called for it, he knew how to own a look. Fitted suits with dramatic lapels, rugged jackets that exuded rebel energy, and, of course, the ever-iconic marina moments. Whether he was in Kingston or on tour in Europe, his style translated effortlessly—because Jah Mek Ya fashion doesn’t need validation. It is the blueprint. 

And then there was the guitar – an M16 rifle turned into a musical weapon, slung across his chest like a badge of honour. It was Peter Tosh in a single image—militant, fearless, and ready to fight with nothing but music and truth. 

Decades later, Peter’s influence still echoes in reggae culture, not just in sound but in style. The fearless self-expression, the unapologetic blackness, the commitment to representing Jah Mek Ya in everything—his impact is woven into the fabric of reggae fashion. 

Because for Peter, style was never just about looking good. It was about making a statement. And just like his music, his message still stands: “I don’t want no peace. I need equal rights and justice.” 

Now tell us, what’s more stylish than that? 

Editorial Team

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