一、為什麼饒舌歌手們要裝飾自己

在滾滾長江東逝水的歷史長河中，HipHop從各個階段不斷產生著變化，這種變化不是單一性的某個方面，從音樂本身到音樂人本身，總在接受著某一時代所特有的印記，這其中很重要的一個方面就是饒舌歌手們的著裝風格。2015年，一部名為”Fresh Dressed”的電影問世，導演是Sacha Jenkins，監製之一是Nas。在接受The New York Times記者Hilary Moss的採訪時，Nas藉由這部電影發表了他對於HipHop著裝風格變化的看法，並由The New York Times發表了一篇名為”A History of Hip-Hop and Fashion， as Told by Nas”的文章，對於這一發展過程，Nas應該是很有發言權的，當然Nas的論調只是我這篇文章的一個引子，先來看看他怎麼說的吧。

【關於這部電影，我在微博上推薦過資源。試看/下載地址：

http：//

pan。baidu。com/s/1bnZe0S

B

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“Your coming of age is about representing who you are， and hip-hop music contains a message——it tells a story about who you are——and what you wear is also proof of it，” says the rapper Nasir Jones， a。k。a。 Nas。 It was with this in mind that he and a business partner， Sacha Jenkins——both onetime Queens residents currently in their 40s_set out to provide a cinematic reminder of “the importance of something that we’d grown up around and that is still strong in pop culture——clothes， fashion or what we call ‘gear。’”

“你的出現，只是為了代表你自己，以及你的HipHop音樂中所包含的資訊，它講述了一個關於你是誰，以及透過你穿什麼來證明你是誰的故事，”Nas說。為此，他和它的生意夥伴Sacha Jenkins——兩位都已時年40歲的紐約皇后區人，開始透過影院去提醒人們“那些在我們成長的過程中始終堅挺的流行文化——著裝、時尚以及我們稱之為‘衣裝’的東西”。

The ensuing film， “Fresh Dressed，” which Jenkins directed and on which Nas served as a producer， spans the past four decades： from the 1970s’ ubiquitous B-boy style that created a uniform of BVD tank tops， Lee’s jeans， Puma sneakers， Cazal glasses and Kangol hats； to the ’90s， marked by Tommy Hilfiger rolling up to the ‘hood and handing out apparel； to the digital era， a roster of the who’s who of hip-hop （Kanye West， Sean “Diddy” Combs， Pharrell）， the once-emerging genre’s de facto designers （Karl Kani， Dapper Dan， Carl Jones of Cross Colours） as well as a handful of insightful personalities （André Leon Talley， the photographer Jamel Shabazz） help tell the tale。

之後就誕生了這部由Sacha Jenkins導演，Nas監製的電影作品”Fresh Dressed”。電影中涉及的內容跨越40年，從上世紀70年代“無處不在”的B-boy風格所創造出統一的BVD背心、Lee的牛仔褲、Puma運動鞋、Cazal眼鏡、Kangol帽子；90年代，Tommy Hilfiger的”hood and handing out”風格服飾；到數字時代，這份榜單上則囊括了那些HipHop歌手例如Kanye West， Sean “Diddy” Combs， Pharrell Williams，那些新興流派的設計師例如Karl Kani， Dapper Dan， Carl Jones of Cross Colours，以及少量富有洞察力的人物例如André Leon Talley， Jamel Shabazz，幫助我們講述了這段故事。

Your outfit reflects your state of mind--and being.

你的衣服反映了你的精神狀態和存在。

“If you look a mess， usually there’s a mess in your head， and if you look pretty organized， that speaks without words，” he says。 As for his own evolution， he offers： ”What was important to me in the ‘90s was representing that guy from the inner city， but once I brought that message from the block to the world， there became another side to it——a fancier。 It’s the more expensive clothes and it’s the nice chain。 You’re in front of the audience and you have to look the part， so I adopted more of a rap-star look。”

“如果你看上去一團糟，你的頭腦也會一團糟，如果你看起來很有組織，則不說自明，”Nas說，至於他自己的變化，他提出：“90年代對我來說最重要的著裝是，最能代表我是從市中心區走出來的那種，但是一旦我把這種資訊從街區傳到世界，就變成了另一種形式——發燒友。這是更昂貴的衣服，這是更好的鏈子。你在觀眾面前，你必須讓大家看到這一面，所以我更會讓自己像一個說唱明星的樣子。

You should be yourself when you’re ready to.

當你準備好了的時候，你應該做你自己。

“I used to keep away from red carpets in the way that I like to hang out， with my Yves Saint Laurent shirts and my European， slimmer-fit dress slacks， because for me that was personal，” he explains。 “I still was so connected to the street mentality that I felt like I had to reserve something that was private for me and I didn’t trust being in the music business； it wasn’t real to me。 Rap music is real to me， but the business of music didn’t seem like a place to get comfortable。 Now， I don’t have to hide that from people anymore。 I know that nothing is going to happen。”

“我曾經遠離紅地毯，我喜歡閒逛，穿著我的Yves Saint Laurent襯衫和我的歐式細長修身長褲，因為那是我的風格，”他解釋道。“我仍然是如此希望去將自己連線到一種街頭的心態，我覺得我必須保留屬於我私人的東西，我不相信自己在音樂業務的角色，這不是真實的我。對我來說說唱音樂是真實的，但音樂業務本身似乎不像一個能讓我獲得舒適的領域。現在，我不必再隱瞞那些人了。我知道，這不會發生什麼。”

You must learn to walk before you run.

在跑步之前，你必須學會走路。

Citing “men’s men” that range from Martin Luther King Jr。 to Frank Sinatra， Nas mentions that he likes to look at old pictures for inspiration； however， some of it’s hereditary。 “I got a lot of style from my dad，” he says。 “I’d emulate him and I’ve got it on my own now。 Once you take the training wheels off， you can ride。”

引用“男人中的男人”，這個範圍從Martin Luther King Jr到Frank Sinatra，Nas說他喜歡從老照片中獲取靈感；然而，其中帶有著一些遺傳性。“我從我父親哪裡得到了很多種風格，”他說。“我會模仿他，但我現在已經掌握了它們。一旦你把訓練的輔助輪子寫下來，你就可以騎腳踏車了。”

Age-appropriate dressing is part of the style game.

年齡合適的著裝是風格遊戲的一部分。

“If all of the kids are wearing， say， Versace belts， I’ll try not to wear them too much——but it’s a struggle，” the “Illmatic” rapper admits。 “ still like all the brands I liked as a teenager， so I go back to them， but the young kids are discovering them now for the first time。 It’s their game。 So， I like to dress age-appropriate and wear something by a designer you might not recognize and that looks good。”

“如果所有的孩子都繫著Versace皮帶，那我儘量就不會去太多地穿它，但這是一種掙扎，”Nas承認。“我仍然喜歡我青少年時期所喜歡的所有品牌，所以我會回顧它們，但年輕的孩子們可能只是第一次發現它們。這是他們的遊戲。所以，我喜歡穿合適年齡的衣服，穿一些你可能並不是熟知的設計師，但確實也是看起來不錯的東西。”

Clothes are art.

衣服是藝術。

And， “wearing clothes is art，” he continues。 “I think God creates people and that we are his art， so what we can sew and put together， and what we put on——ow we put it on——it’s art。”

而且，“著裝是一種藝術”，他繼續補充“我認為上帝創造了人類，而人類是它的藝術品，所以我們可以不斷進行縫補和拼接，我們穿什麼，我們如何穿，這是藝術。”

二、HipHop著裝經歷了怎樣的發展過程

知名攝影師Ariel LeBeau曾經發表過一篇名為”Happy Birthday Hip Hop： A Timeline of Hip Hop Fashion”的文章，其中選取了一些具有標誌性的饒舌歌手以及他們的經典著裝，來為這段時期進行定性。這些具有借鑑意義的打扮，或許在那一個年代，被賦予了太多的時尚元素，影響著一批當時的弄潮兒們。

Grandmaster Flash and The Furious Five

One of hip hop‘s earliest rappers and crews， Grandmaster Flash and his Furious Five were as interesting to look at as they were to listen to。 We can’t help but think some of today‘s risk-takers in hip hop have been inspired by the iconic rap collective

最早的HipHop說唱歌手和組合之一，Grandmaster Flash和他的Furious Five看上去和聽上去的同樣“有趣”。我們不禁會想，在今天一些HipHop冒險者的靈感來自於這個標誌性的說唱團體。

Run DMC

Run DMC were iconic hip hop pioneers， both musically and aesthetically。 When they burst onto the scene in the 1970’s， their Adidas track suits， shell toe sneakers， Kangol hats， and oversized gold jewelry set the standard for B-boy fashion。

Run DMC是標誌性HipHop音樂和美學的拓荒者。當他們在70年代突然出現，Adidas運動服、貝殼頭運動鞋、Kangol帽子、超大的黃金首飾成為了標準的B-boy時尚。

Big Daddy Kane

For better or worse， gold chains remain one of the most enduring visual symbols of hip hop culture。 Back in the 80‘s， Big Daddy Kane was one of the key artists who helped popularize huge gold jewelry， name plate necklaces， and chunky chains。

無論好壞，大金鍊子仍然是HipHop文化最持久的視覺符號之一。早在80年代，Big Daddy Kane是幫助推廣巨大的黃金珠寶、名牌項鍊和chunky鏈子的關鍵人物。

Run DMC & Beastie Boys

Not only did these two New York trios exemplify the sound of 1980’s hip hop， they also perfectly personified the style。

這兩支紐約三人組是80年代HipHop典型，他們同樣也有著相當典型的風格。

Public Enemy

As if their politically charged lyrics didn‘t say enough， Public Enemy’s image was extremely indicative of the cultural climate of the late 80‘s。 While some of their members sported the typical starter jackets， sports sneakers， and baseball caps that were in vogue， other members of the group dressed in paramilitary uniforms as a political statement。

如果他們的政治抒情橋段不會並說夠，Public Enemy的形象極為代表著80年代末HipHop的文化氛圍，他們中的一些成員穿著代表性的starter夾克、運動鞋、棒球帽，充滿著時尚，其他的成員則身著武警制服般的服裝以體現一種政治宣告。

Salt N Pepa

As hip hop grew more socially conscious， another trend that took off during the mid-to-late 1980’s was the influence of Black Nationalism。 The salient colors—— yellow， red， green， and black ——had long been a facet of reggae culture， but were ushered into mainstream hip hop by the likes of Salt N Pepa， Queen Latifah， Public Enemy， and others。

隨著HipHop日益成長的社會意識，在80年代中期的另一個趨勢是黑人民族主義的影響。突出的顏色是——黃色，紅色，綠色，黑色，如同另一宗的雷鬼文化，但被Salt N Pepa， Queen Latifah， Public Enemy以及其他一些人領進HipHop的主流。

N。W。A。

This legendary group embodied the attitude of hip hop at the end of the 80‘s， and it was apparent in their image。 They wore casual staples like crewnecks， jeans， and tees， but coupled with their swagger， took them from basic to bold。

這一傳奇HipHop組合體現了在80年代末HipHop的態度，這在他們的形象中體現的很明顯。他們主打休閒，穿著像圓領衫、牛仔褲和T恤，但加上他們昂首闊步，體現了他們最基本的大膽。

Queen Latifah

Throughout the 80’s and early 90‘s， fashion for women was mostly similar to fashion for men。 Sneakers， snapbacks and loose-fitting clothes were the way to go。

在整個80年代和90年代初時期，女性的時尚大多相似於男性的時尚。運動鞋、Snapbacks和寬鬆的衣服。

TLC

When the 90’s kicked off， so too did a more youthful wave of hip hop。 Bright colors， wild prints， and imaginative ensembles started to catch on。

當90年代大門拉開的時候，也有了更多年輕的HipHop風潮。明快的顏色、野性的圖案和富有想象力的創意開始出現。

Kriss Kross

Younger artists coming up in the early 1990‘s seemed partial to extra-oversized clothes， making hip hop style baggier than ever before。

年輕的饒舌歌手們在90年代初似乎偏愛超大號的衣服，似的HipHop風格比以前寬鬆。（以及Kriss Kross經典的牛仔褲反穿）

Will Smith a。k。a。 The Fresh Prince

Throughout the 70’s and 80‘s， Adidas had been the most prevalent brand in hip hop， but in the 1990’s that swiftly changed to Nike —— all thanks to a marginally popular athlete named Michael Jordan。

在整個70年代和80年代，Adidas已經成為HipHop最流行的品牌，但在90年代，Nike迅速改變了這一狀況，一切都是因為Michael Jordan。

Biggie & Puffy

Jerseys， baggy jeans， and sneakers took somewhat of a backseat around 1995， when Death Row and Bad Boy Records were at the height of their success。 Instead， rappers started to develop a taste for designer clothes and accessories， and mainstream hip hop as a whole adopted a decidedly more glamorous image。

1995年，球衣、寬鬆的牛仔褲和運動鞋成為主流，源於Death Row和Bad Boy Records達到了他們成功的高度。相反，說唱歌手開始發展成為設計師的能力以品出服裝和飾品的味道，主流HipHop作為一個整體獲得一種更加有魅力的形象。

Snoop Dogg & Tupac

Another fad that manifested itself in the mid 90‘s was gangster fashion。 No， not “gangsta” - this trend was influenced by the original Prohibition gangsters of the roaring 20’s。 Double-breasted suits， alligator shoes， silk shirts， and fedoras found their way into the closets of Snoop， Pac， Diddy， and others。

另一種時尚，體現在90年代中期的是匪幫時尚。不是“黑幫”，這種趨勢是受禁酒令時期匪幫在20年代穿著的雙排扣西裝、鱷魚皮鞋、絲綢襯衫和淺頂軟呢帽，發現在衣櫃裡的Snoop， Pac， Diddy， Diddy和其他人發現了它們並把它們重新拿出衣櫃。

Notorious B。I。G。

That‘s right， even Big Poppa was in on the Al Capone aesthetic。

是的，Big Poppa有種Al Capone（禁酒令時期的著名匪幫頭目）的審美。

Aaliyah

The late 90’s was when fashion finally started changing gears for the ladies， too。 Here‘s Aaliyah rocking a look that would become her signature； refreshing the baggy tomboy style of her precedents with a subtly sexy twist。

90年代後期，當時尚終於也開始改變女士們的“衣裝”。Aaliyah的裝扮一看即會成為她的標誌——結合清爽寬鬆的假小子風格與她與性感扭動身形的先例。

Wu-Tang Clan

By the late 90’s， the flamboyant colors and conceptual costuming had mostly leveled off and hip hop fashion found a more refined foothold。 Classic pieces prevailed， with an updated attitude。

到90年底，其豔麗的色彩和概念服裝已經基本上趨於穩定，HipHop時尚發現更精緻的立足點，經典作品以最新的態度佔盡上風。

Foxy Brown

By the turn of the century， women abandoned their baggy， oversized outfits once and for all， in favor of fashion that was form-fitting and more feminine。 For rappers like Foxy Brown and Lil Kim， style was synonymous with sex appeal。

到了世紀之交，女士們徹底拋棄了寬鬆的超大衣服，時尚、合身得到了更多女士們的青睞。說唱歌手像Foxy Brown和Lil Kim，她們的風格是性感的代名詞。

Ludacris

Jerseys， diamonds， do-rags —— Ludacris highlights the essentials of the early 2000‘s look。

球衣、鑽石和do-rags——Ludacris高光了新世紀早期的著裝風格。

Nelly & Jay-Z

The turn of the century saw an influx of rappers trying their hands at designing fashion lines of their own。 Nelly started his clothing line Vokal in 1997， followed by Apple Bottoms in 2003。 Jay-Z， meanwhile， co-founded Rocawear with Damon Dash in 1999， which subsequently skyrocketed。 Other rappers who founded their own lines around the same time were Diddy （Sean John，） Pharrell （Billionaire Boys Club，） and 50 Cent （G-Unit）。

世紀之交的說唱歌手們開始嘗試設計自己的時裝線。Nelly在1997開始了自己的服裝生產線Vokal，緊隨其後的是2003年的Apple Bottoms。與此同時，Jay-Z在1999年與Damon Dash共同創立Rocawear，隨後獲得了井噴式發展。其他說唱歌手同一時間也在創立自己的生產線，例如Diddy的Sean John，Pharrell Williams的Billionaire Boys Club，以及50 Cent的G-Unit。

Kanye West

It might seem like an eternity ago， but when Kanye first broke out in 2004 he did not have the the avant garde taste he does today。 Nevertheless， his collegiate style distinguished him as a trendsetter。 Many consider him single-handedly responsible for catalyzing the integration of high fashion into hip hop as we understand it today。

它可能看起來像是永恆的，但當Kanye West於2004年突然出現，他還沒有今天這樣的先鋒味道。然而，他的學院風格將他同一個時尚者分開。很多人認為，是他一手催化了高階時尚融入HipHop，併產生我們今天對於HipHop時尚的理解。

Tyga， Chris Brown & Wiz Khalifa

These days， the stylistic staples are hard to miss。 Snapbacks， tattoos， tight jeans， and streetwear are the key components in the formula for swag。

如今，我們很難去錯過HipHop風格的主要部分。Snapbacks、紋身、緊身牛仔褲和街頭穿著成為了Swag的關鍵部件。

Kanye West & A$AP Rocky

Amidst a sea of streetwear devotees， a relatively small handful of today’s rappers make up a school of high fashion fanatics。 Kanye， of course， has long departed from his pink polo days in favor of brands like Givenchy， Louis Vuitton， and Maison Martin Margiela。 A$AP Rocky has also become a runway darling （literally —— he walked in the Hood By Air show this year during Fashion Week） known for rocking trendy designers such as Jeremy Scott， Rick Owens， and Raf Simons。

在街頭的簇擁的包圍圈中，相對較少的饒舌歌手成為了高階時尚的狂熱分子。Kanye West，當然它早已離開粉紅色的Polo衫許久，轉而青睞Givenchy， Louis Vuitton，和Maison Martin Margiela這些品牌。A$AP Rocky也成為一員（字面上的意思——他在2013年時裝週期間走在了Hood By Air的展臺上），並深受Jeremy Scott， Rick Owens，和Raf Simons這些時尚設計師的影響。

Nicki Minaj

Whether she‘s rocking a multi-colored wig or keeping it simple with a chic， blonde bob， Nicki Minaj has single-handedly changed the way we think of fashion in hip hop 。

不管她頂著一頭五彩繽紛的假髮或保持簡單與別緻的金髮波波頭，Nicki Minaj憑一己之力改變了我們思考HipHop時尚的方式 。

Jay-Z & Kanye West

Did someone say “All Black Everything？” When Yeezy and Hova are together， nobody nails modern chic better。

有人說過“All Black Everything”嗎？當Yeezy和Hova在一起，沒有會說時尚能做的更好了。

Kendrick Lamar

Kendrick Lamar is quietly one of the most stylish rappers in hip hop today。 On top of his indisputable skills on the mic， fans are always eager to see what he’ll rock on stage。

Kendrick Lamar在饒舌歌手們最為時尚的今天選擇靜靜地做自己。他對麥克風有著不容置疑的掌控技巧，人們總是渴望看到他在舞臺上做一些突破。