The 6th Element in Hip-hop

Embedded within densely populated areas of poverty and racial minorities, Hip-hop has evolved into a vibrant cultural phenomenon embraced worldwide.

Emerging from the Bronx in the 1970s, Hip-hop was intimately tied to neighborhoods of poverty and people of color, often associated with social ills and gangs. Today, this culture has risen powerfully to dominate globally.

Questlove, the drummer and DJ of The Roots, orchestrated a 15-minute medley for the biggest names in Hip-hop at the 2023 Grammy Awards, as well as the halftime show at the 2022 Super Bowl – the largest stage on the planet, featuring Snoop Dogg, Dr. Dre, Eminem, and 50 Cent.

The documentary film “Fight the Power: How Hip Hop Changed the World” in 4 parts is stirring the Hip-hop community. In New York, the Fotografiska Museum is exhibiting the collection “Hip Hop: Conscious, Unconscious,” featuring 200 photos of street fashion and iconic rap images.

2023 marked the 50th anniversary of Hip-hop’s birth. And when it comes to Hip-hop, it’s not difficult for the public to envision it as a culture of freedom, individuality, and breaking boundaries.

The 6th Element in Hip-hop

On a sweltering night in August 1973, Clive Campbell, known as DJ Kool Herc, and his sister Cindy hosted the “Back to School Jam” in a room within the run-down apartment building at 1520 Sedgwick Avenue, the Bronx. Admission was 25 cents for women and 50 cents for men.

From that room emerged the 5 elements of Hip-hop – MCing, DJing, breakdancing, graffiti, and beatboxing – but there was an unnamed 6th element. At the Fresh, Fly, and Fabulous: Fifty Years of Hip Hop Style exhibition at the Fashion Institute of Technology (FIT) in New York, enthusiasts honored this element as “fashion.”

“Fashion is certainly the unnamed element of Hip-hop,” co-curator Elizabeth Way, FIT’s deputy curator of costumes, noted. “All other elements encompass fashion, from graffiti jackets, early B-boy fashion, to all attire contributing to the allure of MCs and DJs,” Way added.

According to SCMP, the exhibition at FIT follows the journey of Hip-hop fashion from black and brown youth from working-class backgrounds to its current mainstream status. Now, images of rappers front-row at fashion shows or Pharrell Williams and Kanye West debuting clothing lines are no longer unfamiliar.

2004 was considered a turning point in Hip-hop fashion when rapper Sean Combs was honored by the Council of Fashion Designers of America with the Menswear Designer of the Year award. His fashion company, Sean John, along with brands like FUBU, Rocawear, and Phat Farm, have maintained their positions in the Hip-hop clothing market.

K. Tyson Perez, former stylist and designer for the HardWear Style brand, stated: “The Hip-hop essence lies in the very fabric of extravagant attire. We’ve seen them in streetwear showcased by Louis Vuitton or Balenciaga models.”

In Asia, BTS member J-Hope is a big fan of streetwear. Meanwhile, Chinese parents have created Xiaohongshu accounts for their children to keep up with fashion trends like rappers. Japan has long embraced Hip-hop into its everyday fashion culture.

“No one can evade the influence of Hip-hop, even mainstream culture,” asserts the introduction to the FIT exhibition.

Appropriating Culture In an interview with SCMP

FIT’s co-curator Elena Romero mentioned that the term “cultural appropriation” is often invoked as Hip-hop gradually becomes a dominant trend in life.

“Today’s consumers are both critics and juries about whether fashion companies are truly honoring Hip-hop culture as they claim or if it’s actual appropriation. Consumers are smart enough to recognize this. They’ve called out businesses profiting off historically marginalized communities,” Romero said.

Many renowned fashion houses have fallen into this trap. Black designer K. Tyson Perez once accused Givenchy of producing bucket hats identical to his designs since 2013. He stated: “They only turned back when I spoke up.”

Perez believes that the seeds of cultural appropriation in Hip-hop stem from brands merely “drawing inspiration” instead of creating their own ideas. Even when the original cultural creators nod in approval, they don’t receive any compensation from those inspired by their work.

“Designers justify they’re showing respect for the original culture, but profits still come first. While it’s agreed that fashion trends change for the better, I maintain it’s overly commercialized, forsaking core values. Isn’t it now that when fashion is mentioned, people immediately think of appearances?” Perez further analyzed.

At the Fresh, Fly, and Fabulous exhibition, Perez points out that true Hip-hop values are manifested through how young people wear oversized gold chains, sneakers, sheepskin, and four-finger rings… He believes these items represent classic Hip-hop fashion.

Co-curator Elizabeth Way, on the other hand, is particularly intrigued by garments authentically inspired by Hip-hop devotees from the 1970s-1990s. Most of these enthusiasts were B-boys, photographers, and students – individuals who simply loved Hip-hop and expressed themselves through clothing.

Meanwhile, co-curator Elena Romero noted that Chance the Rapper’s suit at the 2021 Met Gala was inspired by Ralph Lauren’s Polo Stadium collection from 1990. Not deeming the attire ugly, but for Romero, it was glaring.

“With each generation, Hip-hop style is reinterpreted in many forms. Hip-hop is now fresh and vibrant, but let’s not lose its core values,” Romero concluded.