♪

are you ready? let me tell you something. home boys home girl on the spot, let me ask you, what's your name? >> geno. >> where are you from? >> money making manhattan. >> whaets your name. >> rosemary. >> where you from? >> money making manhattan. >> you all look kind of fresh. tell me about your fashion. what are these shoes? >> these are adidas with fat laces. that's the way we sport them. >> what do you call the fashion overall? >> fresh. >> word. word. let me ask you something. what about your fashion, your look? how do you describe it? >> i call it, you know, v-boy threads in a way. a pair of white on white adidas, fat laces. >> how you rock your hat, man? >> i sport express, holmes. -- i sport it fresh, homes. >> word. word. ♪ party people party people ♪ gonna get funky yeah

♪ gonna get funky yeah >> being fresh is more important than having money. the entire time i grew up, it was like i only wanted money so i could be fresh. >> fashion is a whole other thing. when you're young, there's like a sense of wanting to express yourself, an importance in individuality. ♪ >> the hip-hop culture is not just about the music. it's also about a lifestyle. it's people who are free exploring their creativity to a kind of free format of words, rhymes, language, music, or visual style. >> the hip-hop culture had a boldness to it. you wanted everybody to know you was down with this movement. fresh to death like a million bucks.

♪ >> come on, we were big dreamers. all of us. hip-hop was based on that dream of getting it and coming up out the ghetto, the light at the end of the tunnel was always, you know, the pot of gold, the clothes, the fashion. >> somebody said to me, your clothes are your wings. so, you know, if you want to fly, these dudes want to be fly so they going to put on something nice. and why shouldn't they? by doing that w the style that the street guys have, once we put it on, it's a whole different story. you kno what i'm saying? we put on your clothes and we take it to the next level. ♪ >> the animal kingdom in the

human being world is parallel crazy. peacocks, the way they flair up to attract their mate, certain animals change up their whole appearance, it's all about their flair, what you look like or how does it radiate off of you. and certain african chiefs were really ostentatious or out there with their garb. like kings and how they were painted in great britain. look at the outfits they're wearing. they look like royalty. they looks like kings. so wardrobe has always been a thing, you know. >> if you go through the history of african-american culture, particularly in the 20th century, style, fashion, clothes were always a very prominent part of people's identity. it allows one to sort of represent, define their own

presentation to the world, so to speak. even for people who maybe didn't have money, their own unique way of wearing something came to be a way for people to be distinct, to be identified in a crowd, to stand out. and i think over time you think about the role religion has played in african-american culture, going to church, the opportunity to dress up, it was expected that one would be dressed a certain way, that you would look your best. ♪ i want jesus to walk with me >> the term "sunday best" came from a time in slavery when in order for slave owners to be considered good christians they had to make sure that their slaves had at least one good outfit so that they could go to church on sunday. even though most of them were

practicing other african indigenous religions. >> certainly you did put your best on when you went to church on sunday morning. >> when you got to church, you saw fashion merging with the music because the gospel choir was always the thing to watch. ♪ oh, jesus >> this is a very important fact of how you see style within the religious environment of the church. >> if you talk about african-american culture, music especially, jazz, blues, hip-hop, any sort of genre of music, r&b, there's always a unique clothing style, unique approach to fashion that goes with that. ♪ >> in terms of how hip-hop and urban hip-hop and fashion and music have fused together to be

a cultural influence, i think one has to look back and start with someone like little richard. ♪ ♪ ♪ oh, baby little richard to me was an extravagant, outlandish black version of liberace without the sequins. little richard was and is still an iconic symbol of freedom. >> music can make you feel free. and watching a performer and what he says in his lyrics can make you feel free and give you a sense of your freedom. >> considering all that african-americans have experienced in american society over time, in spite of that, you know, this sense that if you look good you feel good is something that i think speaks to why fashion and style has been

so significant over the course of time. >> this is the bronx in new york. 1.5 million people live in this borough, equal to the population of houston or washington or san diego. it's the home of the new york yankees, the bronx zoo, and the grand concourse. it has also become the arson capital of the world. ♪ a rat done bit my sister nell ♪ with mitty on the moon. her face and arms began to swell and whitey's on the moon ♪ ♪ i can't pay no doctor bills but whitey's on the moon ♪ ♪ ten years from now i'll be paying still while whitey's on the moon ♪ >> the street is where everything happens. it's where you can go and stake out a piece of who you are. >> the '70s in the south bronx, everything was burning. i particularly lived in a

building where i was the only tenant. my parents were the only tenants in a building that held 50 apartments. we had no heat. we had no hot water. there were killings up the yin-yang. police brutality was worse than it is now. that's where gangs began. >> they tried to take over one of my divisions. >> and never made night they didn't quite make it, and we killed two of their guys. they tried to burn down my -- ♪ ♪ with go man, we rumble, we fight ♪ whatever we do our boys don't get hurt ♪ ♪ we pick them up and we keep going that's it ♪ we get home, man, whatever colors we got or whatever, we just take them, throw them up on the pole. see which one of them members is bad enough to try to climb up an get it. >> it was extremely important on how you dressed. so you must at all times have black jeans.

at the time, they were lee's. and motorcycle jackets. and on top of the motorcycle jackets were denim jackets, cut sleeve is what they called them. >> those are our enemies right there. >> the art of customizing hip-hop for the most part got that from the so-called gangs or street families, without a doubt. >> i actually cut each of these letters out myself, put it on, and you have -- these are top and bottom rockers and a set of -- center patch. and all of these conchos and do-dads that i put on, these laces and beads, this mink fur is all added on. this was the classic outlaw look back then for the street gangs. >> this is handmade. he made this himself. there are stitches here with cow hide that he made, the patches. you sew them on yourself. >> yeah.

>> this all began with that movie "easy rider." a lot of people won't admit it, but it's the truth. people saw that, that gave you the sense of outlaw. hmm. >> most of the guys here are dressed like warriors. >> warriors. >> no, i'm not. >> i hear you talking about your warlords and your war council. what's the enemy? >> the establishment. >> right on. there its. >> the establishment. >> enemy around the bronx now at this very moment is the police. yes, this is a warrior thing. yes, it is. and we're here to defend our brothers and sisters against people like them. they're very racist, man. if you going to communicate, kmoouks communicate, man. if you're going to fight, we're going to fight back. >> when the bronx was burning, gangs were rumbling. i mean, rumbling hard. one of the guys from the ghetto brothers who was a peacemaker

named black benji, he went out there to make peace, and another club a member of another club jumped out and said "peace my ass" and hit him with a bat and then they just continued to hit him until they killed him. >> cornell benjamin also known in the streets as black benji was ambassador for the ghetto brothers. he was beaten to death when he tried to intervene between two other gangs. instead of retaliating, the ghetto brothers convened a peace meeting of all the gangs in the south bronx at the boys' club on ho avenue. >> even when we had colors we were a gang, we never looked for trouble, man. i could understand if they beat up benji but killing him is another thing. you took one of our brother's lives, man. the thing is we're not a gang anymore. >> peace! >> right on. >> they made a truce, and the truce worked for a while. so the whole mentality changed along with the atmosphere. instead of the wars that we used

to have, you know, club to club, it was, i battle you. people would battle with their mouths right there on the spot. you have to spit. ♪ >> all these crews, the fly style of like putting the name of their crew on their sweatshirt now. you know, it wasn't on the lee jacket, but now they were more refined. they were clean. some of the beefs were settled on the dance floor, in the train yards, on the microphones, on the turn tables. >> to hear the scratching, to

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rappers and to hear these battles between busy b and cool mo d. up to that point, you had to use your imagination, whoever got to tape, telling you how it was. remember in the park, you had mel e mel, and you had caris ma. back there jamming. to me, just party at the park. we didn't really know hip-hop was getting that big, you know. even back then it was all about fashion. even the outfits that mellie mel would wear, it was outrageous at that time, but it was like, oh, he's a superstar, he's a rapper. that's what they do. so he had a pass to wear all those crazy jackets and cowboy boots. ♪ >> back in the day, if you find any old cold crush flyers, you receded those cats used to dress up. they got suited for a lot of their events. i mean, armani suits, you know.

gators, and mink coats dripping to the floor. however, though, because of hip-hop being a new form of music and something that the youth cater to, basically everybody that was accustomed to wearing suits on stage just started dumbing it down to just keeping it just straight b-boy. ♪ the majority of hip-hop artists really just dressed b-boy style where you got on the lee's and you got on the pumas. and a bvd tank top, you know, with your gazelles. it was all part of the hip-hop fashion. >> hip-hop fashion was kind of derived through the music and kind of, we're not going to follow the rules mentality both in rap music and in fashion.

♪ say ho say ho ho say ho ho ho ♪ ♪ now scream >> i remember in terms of making a statement and just really influencing me, seeing run dmc on stage. ♪ got a big long caddie written on the side dressed to kill ♪ with their hats, their leather pants, and bottom line you were always cutting school dressed for success meant something else. here they were breaking all the rules and winning. i just remember that changing my life in the sense that everything i've been taught was a farce for me from that point. >> what we were on stage is just what all the youth wear, what all our fans wear. so dressing this way lets them know, oh, he just like me.

♪ >> being in new york with so many people walking past each other on the street every day, you get a chance to -- it's like a runway, you know what i mean? all the streets were like runways for different clothing brands. >> there was always all sorts of different flavors. in the hood. there wasn't one definitive sort of style. >> a guy from brooklyn would have on clocks, shark skins, gazelle glasses with no lenses in it. and a kangol accuracy. that was a brooklyn cat. he didn't have to say anything. you knew he was from brooklyn. a guy from harlem would have on let's say a velour sweat suit and whatever brand the sweat suit was from, he would have the sneaker to match. same with the bronx. the bronx was a mix of harlem and brooklyn together.

queens -- queens had their own flow, too. ♪ used to go uptown to apollo, amateur night at the apollo. you could be in that venue and know that person's from harlem, that person's from queens, you know. you would just know by the way they were dressed. >> we were fresh. we were zip chilling fresh dipped. no money, no money, no money in the pocket. might have had 50 cents between us. >> the insecurity of not having anything, it's the only time that you can showcase that you do. like if you going home, you got roaches and ten people living in an apartment, you know, the only way that you can kind of show that you have anything and feel some kind of a status is what you have on your body. what you have on your body is a reflection of how you're economically doing. as a young man, if you got fresh, crispy gear, then you get money.

if you dirty, you not getting money. everyone prefers to be clean. everyone prefers to have, you know, different variations of clothing. so it's just a status symbol based on insecurity. >> i think the colors in hip-hop came from graffiti. whatever cans of paint, what colors were available, those became the cool colors. you did your own thing. you know, you could paint your own design on the back of your jean jacket. jean jackets were the first canvas for hip-hop. ♪ many people clean their dentures

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right now we are standing on the iconic delancey and orchard streets, a historic location that many of us sought back in the 1970s. there's a photographer way back then, i actually took some of my first photographs here on this block here. it's interpreted around the world as just being fly, being unique, being special, you know. for many, they just see it as a strong style.

what i see is pride and dignity in taking pride in the way they dress and carry themselves. i wanted the world to see something unlike they were seeing before. that despite people's condition, they are still able to maintain a great degree of integrity, shown in the way they dress and having clean sneakers on, having fresh gear on that was color coordinated. that made them feel good and helped resonate and inspire people locally to want to dress that way. >> you couldn't get a discount airport -- -- anywhere -- anywhere except on the lower east side. >> this was like one big department store which stretched down seven, eight blocks. the one thing that they had that they could show off to the world was their clothing. so it was very important. they may not have the best apartment. they may not have had the best cars. but they had the best clothing. and it was very important to

them. because when they put that suit or that leather jacket on or their mink jacket on or whatever it was, they were king. ♪ >> for a lot of people who may grow up in the projects or whatever, they want to stand out, you know. so they wear loud colors. i think the colors in hip-hop came from graffiti. whatever cans of paint, what colors were available for painting, those became the cool colors. you did your own thing, you know. you could paint your own design on the back of your jean jacket, you know. jean jackets were the first canvas for hip-hop. >> what was really, really popular was doing names on the side of your jeans, and that's what i was doing a lot of.

people paid me to put their names on the side of their jeans. ♪ >> you know, i remember coming across a black beat magazine with ll cool j on the cover, and inside there was an article about his sweatshirt that he was wearing, which was like an airbrushed portrait of himself, as a b-boy. and it was painted by a guy named king fade from the shirt kings. >> this is the shirt here that gave the shirt kings notoriety. when ll cool j who is a major, major, major star, wore this shirt in every photo shoot that you could imagine, it took what

we were doing in south side jamaica queens all around the world. it made the world notice who we were. >> what shirt kings were about were drawing things that we saw, you know, in our community. we basically remixed them, turned them into a joke. this became our reality, you know. so we put mickey on crack. >> when times are bad, a lot of people tend to gravitate towards art. art takes your mind to another place. you know, shirt kings allowed me to not become something else. >> shirt kings and dapper dan took care of what we were thinking in our imaginations, they put it into reality.

>> the belt that i'm wearing here, you know, this style stuff dapper dan was putting together on your shoe. dapper dan was putting together on your baseball cap. you know, the lv was on your baseball cap, on your pouch that hung from your neck. you know, dapper dan would use that where louis vuitton wouldn't. people who could afford it were going to dap instead of louis, you know what i'm saying? you may walk into louis vuitton and he looked down at you. especially in 1980. you went to dap, you feel at home. he's going to cater to your needs and take care of you. >> i believe urban luxury fashion started with dapper dan, and people wanting to aspire to wear these luxury brands, they were unattainable at the time. he figured out a way to make it attainable. what dan did is basically do what we did with music, you know. we sampled songs, looped them, and made it our own. he figured out a way to do it in clothing. >> let me tell you a story.

30 years ago -- >> yeah. >> 30 years ago, this whole block was full of bentleys, rolls-royces, cars you never even heard of to come see this man because he was the first one taking to sign -- designer clothes, gucci, louis very on the, and making suits and stuff out of it. took the leather and did it, made pants. i never bought a pair. i couldn't afford no pants. this was the first man that did this. >> the only way for us to make it in this business, which i realized early on, was, when you got raw goods, that raw goods, if i have a roll of fabric, that fabric is anything i want it to be. anything that a designer didn't have, i would embellish it for them, you know. i blackenized it, you know. i made it so that it would look good on us. i took it where they would never take it. louis vuitton wasn't even making clothes like that at the time,

you know. i didn't even realize the impact that it was having because i just wanted to serve my community. i just wanted to serve the black people. i would be satisfied just with the neighborhood i was in, you know what i mean? getting the respect from them. >> back in the day, it was about high-end brand. if it wasn't the actual high-end brand, it was dapper dan. got the seats done, the whole upholstery inside my car done black and red gucci. >> i've kind of had make me a shirley, once, with the extra deep pockets just in case i needed to have guns in them. you could do those kind of things. it didn't cost two grand. i thought i was the man. >> i was home 24 hours a day for eight years. we might take a little three hour break. and for the rappers, i would have the gate down here. all they had to do is pull --

rappers come through, all they do is pull the gate up and rolling. my policy was, run to the gate! eric b., rock kim, biz markie, big daddy cane, salt and peppa, guy, teddy. teddy, i ain't mad at you. i still got a check for $700 that bounced. >> what put the nail in the coffin was first they raided me. raided me broke. part two was crank out anything i do on your mtv, and you know your mtv gave verse to the rap. that was their cover. >> he should have came out with a dapper dan brand. >> he definitely could have. i think he would be in business. >> dapper dan was tom ford before tom ford. he should have been hired instead of shut down. he really should have been hired as a designer for one of those elite clothes brands back then because he had the foresight to

do back then what they just started doing maybe ten years, five years after him. >> the most important thing with sneakers, you know, because if you had some white sneakers you -- if you had some whack sneakers, you were just -- it was just a difficult time. >> there was no one question you never wanted to hear when somebody you didn't know rolled up on you. and that was, what's your size? a subconscious. a knack for predicting the future. reflexes faster than the speed of thought. can a business have a spirit? can a business have a soul? can a business be...alive? that's amazing. it's amazing.

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♪ ♪ ♪ ♪ i stepped on stage at live aid ♪ ♪ all the people paid and the poor got paid. ♪ i wore my sneakers but i'm not a sneak. my adecember as touched the sneakers of a foreign land. my adecember as and me close as a team. we make a mean team my adeese deed as and me. ♪ the most important thing was sneakers, you know, because if you had some whack sneakers, it was just a difficult time.

>> a lot of stuff was only built off your shoe game. that's what was important. you built your outfit off your shoe game. >> this is what i like to call sneaker heaven. i could wear a brand-new pair of sneakers every day for 7 1/2 years. that's a fact. when i was a kid, i asked my mother for a pair of sneakers one day. she bought me a sneaker called the mark 5. nobody alive knows what this shoe is. it was a mark 5. i thought i was the hottest guy in the world because my name was on the shoe. my name is mark. i went back to the block, and they laughed me off the block because it was like a $10 shoe or one of them crazy shoes. and i got destroyed. >> when it comes to getting fresh, hip-hop, getting fresh starts with feet first. remember i went to capital school. you had to wear shoes every day. me and my friend would fake a sprained ankle. he showing we had the newest jordan. >> shoes you could get killed for, too. >> there was one question you

never wanted to hear when somebody you didn't know rolled up on you, and that was "what's your size." >> they would go like this, yo, what size you wear? and if you would lie, say your size, why? yeah, your eyes. -- yeah, your size, why you want to know? if you would lie, if you was a chump and a sucker, you probably be quiet and probably get punched in the face and get fixed. >> they would thank you for the shoes and it wasn't a pretty sight. >> i did get robbed one time. >> you did. >> i was just leaving the -- man. these guys got the drop on me. i don't know what i was thinking going up to the bronx by myself. >> you were a kid up there in the bronx. they will sell these air force

that you don't see in manhattan, let's go get those. so we off to jew man. and cop the white and the brown. >> after my mother gave me my allowance, begged my grandfather for an extra 20 cash so i could get the new shoe. it was always that for me. always. you always wanted to be seen and you always wanted everybody to know that you got that what we call swag now. you got that flavor back then. you're fresh. you're the one. >> it was a competition just like everything else in the hood. the way the whole fat laces started was we used to take laces that's came with the shoe like converse, stretch them, starch them with starch, and iron them. it was a ritual. it took like a half hour, right? to get it just right. then the way you laced them in your shoes was a whole different sort of science, you know. the manufacturers when they lace their laces they go the other way, under and up. us? we go up and under. that's a very clear way to tell who's hip in terms of like

street flavor on the hip-hop tip. >> i've been on the color of "village voice," five-page article based on sneakers. i would say this shoe collection is worth over $500,000. ♪ here we go yo ♪ >> in the late '80s growing up in new york, you know, kids were into fashion and hip-hop obviously influenced everything that we did. but, you know, at that point it basically meant getting different designer labels like polo or something like that and wearing it in a particular way. >> you wasn't just a regular black kid rocking polos. we saw those things like new balance, members only, if it wasn't a -- in the hood rocking

that, it's because they saw them rocking it. then made it his own style and brought it in the hood. then other folks emulated that. for us, that's kind of like a natural thing. >> i remember at the taste of chicago when i first saw reg and i, he had like the all-over print polo with the camo pants with the wallies, the fedora, and like a lazarus chain, gold chain, gold fronts. i was still like sewing izods to my shirt. i had remember that moment just moved me so much. i had to get my fresh up to a whole other level. i realized at that point i wasn't in a suburb in high school anymore. >> when i was in school, i went to brown and i had a side pan, the first thing i would do is go to yves st. laurent. take my spooi stipend money and

go to louis vuitton or gucci. urban young people are always attracted to or addicted to fashion because it is the expression of aspiration, because you grow up in a world where fashion is so important. and a lot of people who are in hip-hop have aspirations and aspirational is can you go into that store and buy that brand? >> when you think of versace, ralph lauren, it seems like it's far away, it's a dream. somewhere where you would like to go. and those people could care less about you, you know. but it seems like, if i can grab that and wear that, like i'm living a fantasy. >> tommy hilfiger would show up in the hood and open up a trunk with, you know, clothes, and tantamount to it was like -- it was like the drug dealer giving you a free hit. then you're like, i want more.

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low lives originated from demarcus village. a and uticus, two crews that came together and created a brotherhood. you know, that influenced the world of fashion and hip-hop abroad. >> a booster is somebody who goes to any store but in this case expensive stores and steals. and then, you know, it might be a $600 jean and you can buy it for $100 from him. >> boosting is anybody who shoplifts. >> you were robbing and stealing and all that, even each other. there were a lot of people where, you know, rob your whole house, man. everything you had. and just the polo, not taking anything else. >> i remember taking the train. we take the train to gold rush on 34th street. as soon as the train doors opened, everybody rushing into

the store, racing to get the stuff. people were running into the streets carrying all these clothes, some clothes getting dropped. then you see superheroes coming out of nowhere tryg to help, you know, protect the store. then you run back to the train station and on to the tracks and on to the next stop to get away. . >> i knew about low lives, but i didn't know to what extent. then i met thirstin howl iii. he came out with all this stuff. it was all polo. i was like, this is crazy. i didn't even know polo made this. where did you get this? >> it was an evolution of the fashion. it transcended from the likes of the izods. we were attracted to those things before we were touching the polo. and the thing with the polo is, they didn't sell it in no ghettos or your local stores in your neighborhood. you had to go to the high-end stores on fifth avenue and all that. so if you went and got some of that stuff and you came back in the hood, you was like, you rich. we living in the projects, man.

i didn't even have furniture in my house, but i had polo everywhere, you know? >> what you see is a classic case of low life syndrome. this is right here the big low symbol, the big polo ralph lauren you know what i'm saying? represent right here. another low symbol. >> thank you, ralph. thank you for that cream polo sweatshirt with the creams, chenille letters across the front that i wore in college. [ muted ] on everybody there. thank you for allowing me to [ muted ] on so many people. thank you, ralph. >> we were like free promotions for him. >> tommy hilfigers would show up in the hood and open up the trunk with clothes tantamount to it was like the drug dealer

giving you a free hit. then you're like, i want more. so you're looking for it and you're buying it, you know. and he was smart. he knew what he was doing. they knew exactly what they were doing. you know, they didn't pay grand poobah. broke all that hell, yes, and hilfiger. they didn't offer official endorsement deals to any of these artists. but tommy hilfiger, ralph lauren, they made a lot of money off these guys. >> being a promotion walking around in the clubs, we were influencing the rappers in the golden era. them seeing us in the clubs, 50 guys wearing the same shirt. the rappers were copying it and doing it in their videos, and then that was going around the world, they were influencing the world through that. >> stores were afraid of this culture. they really were. they really didn't want this customer in their store, you know. these stores were highly traded white suburban and very traditional.

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♪ with the explosion of hip-hop music in the 1990s, hip-hop starts moving into becoming mainstream, which means television through music videos, through music television. we had ralph mcdaniels well before mtv documenting our stories, bringing them into our homes every day after school at 3:30. that's what we watched, and that's where we started seeing it. then we had concerts. we had television shows like "the fresh prince of bel air" and "in living color" that now started showing the looks that were not just designer brands, that we were used to seeing on lifestyles of the rich and famous. now we're seeing brands that we

can relate to. so there was a number of things that kind of catapulted this look to become mainstream. >> the music came and put a light on us. where we been dressing in the hood, but without hip-hop there was no light looking in the hood to see what you got on. you know what i'm saying? nobody was, like, yo, what these folks in the hood, nobody cared about that. they only cared about that when it was here. and what did that do? it burst the street culture. >> the first time we started seeing that urban really had some dollars behind it was through cross colors. here was a brand that was actually started in california by a black fashion executive who actually came out of the surf business who realized that there was something going on. because he would come to new york all the time and go on the subway and visit spike lee's

store in brooklyn. he was seeing how young men were wearing their clothes. >> i was doing business with a store called merry-go-round enterprises. i started talking to the buyers there about who their customers were, who they sold to. it was mainly what the stores referred to as an urban customer. but, for me, it was the african-american customer. i rode the subways in new york because at the time i felt rap music was coming from new york, and that was a definite lifestyle culture at that time. they were wearing like jeans that were four or five sizes too big. i go, oh, that's interesting. they're using a belt to hold them on so i thought, well, i could do something like that

where it was a baggy silhouette. however, the waist was a waist that would fit that person's body. my medium was a large. my 32 was a 36 silhouette, with a 32 waist for a bottom. no one is really saying, you know, i'm designing for this customer, i'm designing for this market, i'm designing for streetwear. i design from the ghetto for the ghetto for the street. and those are all the thoughts going through my head. ♪ now this is a story all about how my life got flipped ♪ ♪ turned upside down >> i hired a marketing guy at the time by the name of david stinen. i said, hey, why don't you call up "the fresh prince of bel-air" and, you know, see if they're interested in wearing our clothes? i'll never forget he came back and said, carl, you won't

believe what's happening! they love your stuff. they were looking for something like this but didn't know it exists. they love it. they want more. two or three nights later, there he is on "the fresh prince of bel-air" wearing our clothing. >> have a holly jolly christmas! you got a problem with my lights? why don't you come tell me that to my face, then? you can do whatever you want to do. it's your world, squirrel. i'm just trying to get a nut! >> and that was the beginning of it. and the next thing, "in living color" called us. oh, we saw your stuff. then later what i was told, well, you changed the whole specs of the young man's market.

fitted silhouettes aren't working anymore. so i think the industry began to change their specs where everybody else started doing larger sizes. '92 -- really it was '90 when the baggy jeans started but in '92 is when you know for sure it had impacted. everybody's pants were big. >> i was probably about a freshman in college or so when it was at its peak. and this concept that there was a clothing brand that united young people in thought as well as races was very intriguing for me. the idea of offering clothes that made you proud of your ethnicity. here was a time where women were really wearing those same oversized clothes just as much as the men were, and i actually think of tlc before i think of anyone else wearing cross colours and being an influence in wearing a men's brand. no one really catered to the women when it came to trying to dress us.

it was a male's game. i remember the first time i saw tlc wearing cross colours. i was like, oh, hmm, got my attention. let me see. made me want to bring out more of the woman in me. they really created a spark, like, wait a minute, i want to shine, too. i need some bright colors. >> it became clothing for everyone. it was celebrities loved it because we embraced celebrities. we embraced all the music artists. and they -- never was there any company that ever reached out to artists and said, wear my clothing. i think we were probably the first ones to do it. so we were definitely on to something. >> cross colours within four years went from a zero to $100 million. so the success of cross colours then birthed a series of other entrepreneurs that decided, we want to create our own brands, too. so out of cross colours came this phenomenal group of individuals from jeff tweety, celebrity stylist june ambrose, tony shellman who ended up going on

to launch several brands. from mecca to paris nation. april walker, and i can go on and on and on. >> we wanted to get into the denim business, and we did our research and found out that guess and girbaud was manufacturing in california. a friend of mine, a.z. found a manufacturer manufacturing guess. he flew me out here. we stood out there until the workers got off of work. we didn't really know it that -- we didn't really know spanish that well. we kept saying mucho dinero. bunch of people were walking away. one guy says, you want me to -- you pay me more money? he spoke english. just kind of was our link to everyone. a guy named juan, he put us up on the denim spot, showed us where to get the fabric from.

we just started moving and shaking. we brought it to california. we had a store on crenshaw boulevard. some entrepreneurs decided to come into our store and rob our store at gunpoint, took all of our samples, took everything we had. at that point, we had a choice to either stay out here or go back to new york. one day we went to the palladium and cross colors was in the middle of a fashion show and i saw carl jones. i asked him, you know, carl, how do i get my stuff in department stores? i want to get my brand out there. he's like, if you come to my office tomorrow, i'll be more than happy to talk to you. i came to his office. within the first 15 minutes he was like, i heard about your stuff. if you need some help, i'd be willing to help you out. two weeks later we had a deal, and he invited me to become partners with him in the business. >> he was very selective in who he gave his clothes to. he gave them to the biggy smalls, tupaks, more sophisticated guys. cross colours was tlc, snoop dogg and things of that nature. we sort of made sure they had a different vision and branding

was slightly different how we market the brand. >> that was the coolest thing that you could be involved in, like who was in the next karl kani ad. and it just made the dream accessible. it made me feel like, you know, if he can do it, i can do it. he had a sophisticated level. he understood clothing. he understood tailoring. he understood quality. he wanted the best. >> there's a lot of obstacles for us. we were young. i was 22 years old. i didn't make a lot of money back then, you know. we just kind of learning the ropes a little bit. stores were afraid of this culture. they really were. they really didn't want this customer in their store. these stores were highly traded white suburban and very traditional. >> for a long time, department stores were fighting it. by the time we were called urban

designers or hip hop zirdesigne they couldn't break into department stores. it was tommy hilfiger, polo, all the big names. the music industry is making those names big and bigger by constantly talking about them, but when we get our own brands we're not being let on the floor to even compete with them. >> it was very difficult when i was running karl kani even for department stores to even look at our product because they didn't know -- most department stores put a name to a product. at that time, it was men's sports wear and men's traditional and men's suits. that was pretty much it. so when we came out with karl can kani cross colors, they didn't know how to identify it. so what they did, whoever wore the clothes, 2 short or snoop dogg or anyone on the west coast, they considered it gang wear. then they toned it down and called it street wear.

then it became urban. so imagine this buyer who's never been to the streets in their life all of a sudden carrying a line that's considered gang wear. then you've got to associate what type of consumer, demographic is walking in that store. >> you know, retailers would tell me, your sweatshirt is the same as fila's sweatsuit. why should i pay yours? i don't know if it was race as much as not understanding what we were doing in being -- at that time, hip-hop period, the vibe was, this is a fad. it's not going to last, from music to fashion. >> i'd have black and white buyers say the kind of same thing. they're like, you know, black people won't buy that or white people won't buy that. that's what they would say. people perceived me as like a wigger. i would get that a lot. so it didn't surprise me when the buy side had the same kind of apprehension, when the buy

side of building my business was kind of like, hmm, little cynical. like hmm. >> he really didn't want the consumer in the store but they had to because the demand was there. carl jones and karl kani created the demand that you had to carry my product. we were the first brand to have our own shops in macy's next to ralph lauren and polo and tommy hilfiger and nautica. stores realized what the income and outcome of this could have been and was. they took heed to it and put it in -- and bought a lot of it. >> 1996, this was the start of the business making the transition from being a mom and pop specialty store business to being a department store business. ♪ the world is yours

♪ the world is yours ♪ the world is yours >> it was crazy times. it was on fire. hip-hop was growing fast. it was a movement going on, fighting power, hip-hop was just exploding in every way in any way. so as far as the apparel was concerned, it was kind of like there was no main focus. it was just whoever had an apparel company basically was part of the movement and they got the win. it was crazy. it was crazy to be a part of it. >> the only time he stopped typing is when i asked him -- i said, pac, so, like, how much would you charge me to do an ad? he stopped. he said, i ain't going to charge you. you're black. charge my people for nothing. hey terry stop! they have a special!

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the number 1 doctor-recommended frequent heartburn medicine for 9 straight years. one pill each morning. 24 hours. zero heartburn. yeah, video music box, friday night street party, uncle ralph in the place. i'm out here in las vegas at the magic convention, the clothing convention. >> magic is where all the clothing stores and companies and all that come and they all you know what i'm saying, come to buy something and then put in a store near you, you know what i'm saying? >> we went to this show called a magic show in las vegas. we didn't have enough money to exhibit in the tradeshow, even walk into the tradeshow.

we wrote $300,000 worth of orders out of this little hotel room five miles from the tradeshow. we come back, we don't have money. we get turned down by 27 banks. we go into my house, we take all the furniture we can, we sell the furniture we can. the rest of it we cannot sell we burn in oil drums. it takes two weeks because we wanted to get the furniture out of there. and we move industrial sewing machines in there and hire a staff. we slept in sleeping bags next to the machines and for a year we would just crank fubu out of the house. and that started to populate the stores and stores started to sell polo fleece and sweat shirts in august in texas. and then people started to realize who we were. >> fubu was able to do what cross colours didn't in terms of volume. so while its predecessor at its max, its peak, did 100 million and that was in 1990, less than seven years later, you're talking about a brand that

proved itself at $350 million. it went beyond just the local kids in the hood. >> you know, the leaders in that that sort of really normally used the media and used tv properly was fubu. although videos were being dominated by karl kani, fubu was clever enough to put a hat on ll in a gap commercial, changed everything. it just changed everything. >> ll was always somebody who made his own rules and because he felt that the gap at the time didn't really respect the culture or him, he put fubu in the gap commercial. >> once you hear the gap calling you can't resist the shopping big balling. jeans popping in every mall in town. ready to go for us on the low. >> the gap ended up spending $30 million on that commercial and it became basically a fubu commercial.

>> pak used to wear my clothes all the time, even before i even met him. i wanted to meet this dude. pak was all over the place. az again set up a meeting. we go out to pak's room. the whole time we're in there, he didn't look me in the face. he just said, what's up? he was typing a script to a movie. as he's typing the script to the movie, he's having a very intelligent conversation with me about black culture, hip-hop, things like that. the only time he stopped typing is when i asked him, i said, pak, so, like, how much would you charge me to do an ad? he stopped. man, i ain't going to charge you. you black. don't charge my people for nothing. and the man kept his word. two weeks later we was in new york. we did the photo shoot. it was all love. and ever since then we became tight. and tupak was one big reason why i helped my brand

internationally and globally. they worshipped him like a god overseas in europe. ♪ >> i've seen the influence of hip-hop fashion all over the world, japan, places in europe, all over europe. it's how they relate to the music. they don't just listen to it. they embody it. ♪ >> when you don't understand english, what makes you go to buy an album? the look, the fashion, transmits something you can't explain. i remember the pictures with the black suits and leather, the cane gold, the glasses and the e

adidas. >> when i was back in italy like 15 years ago, 20 years ago, i was one of the early kids in italy that was already listening to hip-hop music, rap music. i was getting clothes and getting music from my friends that were like, you have to go to new york and buy that. it already was not yet popular in europe. and i always loved it because there again, it's about freedom. it's about supporting the roots of their culture. >> the international markets the hip-hop culture is there, demographic consumers there, the clothes is there. >> you cannot talk about hip-hop only in the u.s. anymore. hip-hop is not from the u.s. anymore. it's come from berlin, it's come fr from tokyo. it's come from hong kong, from paris, from everywhere. there's only one world anymore. one world for the music, one world for the fashion. everybody got the same [ expletive ] at the same time everyone in the world. it's business.

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>> okay, sure. >> we currently represent maybe 40 artists. they've all had some success, some more than others. i think people as they hear it more they understand it more, appreciate it more. >> a person must be given a great deal of credit is the man who was married to the fabulous model kimora lee simmons, russell simmons. %-p extraordinary, not only for the hip-hop culture but for the fashion culture. for the urban fashion culture. what they created with their brand, the phat farm product was amazing. >> the music culture smartened up when a guy named russell simmons starts phat farm. then people around him are like, man, he made off with that? then you have all of these things that's a domino effect,

knowing what our culture want and how much money is made. >> when mainstream american culture discovered hip-hop, they began trying to sort of, you know, sell bits and pieces of it in any way they could. and this is when you got all of these, you know, fashion labels associated with rappers. >> at rocawear, i would try to show a lifestyle that people would buy into. that's what i was ultimately trying to do. you know what i'm saying? i don't want it to be looked at as we're good for urban or black clothing. i wanted to compete with everyone else in the world. >> rocawear was around well before sean john, but it wasn't until we saw the numbers of sean john that rocawear was able to benefit from that. by the time sean john came on the scene, urban brands were

starting to become a bit saturated in the fashion market. and i think sean john really injected the industry with a new pulse. >> i think for sean john, you know, my whole muse and motivation was what i grew up seeing in the streets, what i grew up seeing going into what i was seeing in my communities and taking it and combining it also to what i was seeing on the runways from all over the world. it was the embodiment of swagger, you know what i'm saying? >> when sean first started doing fashion and having fashion shows, they were some of the most extraordinary moments during fashion week. >> everybody always asks me why i started designing clothes. see, i basically just wanted to look good, you know? to be perfectly honest, i always just like looking in the

[ expletive ] mirror, looking at myself and saying, boy, damn, you look good. >> with sean john i didn't want to just make it a fashion brand. i wanted to make it a lifestyle. i wanted to make sure that we were able to go from the block to the boardroom, that if you had a job interview you were able to represent yourself the right way. if you were going to church, you were able to represent yourself the right way. fresh from head to toe, you know. we didn't take into prisoners. if ralph was doing it, gucci was doing it, sean john was able to do it, and we wanted to do it just as good as them or even better. >> at that time, we were up against brands like mecca and phat farm and rocawear. we were more sophisticated, again, the quality was better. it was toned down as far as the colorations. the fit was different. and the price was a little more higher. >> he said, hey, guess what? i'm going to do urban fashion, but i'm not going to do urban

fashion. i'm going to do high fashion in the urban space. >> at its heart, sean john was about aspiration so he did this high/low thing at such a big level and turned it into this global brand. he also won the cfd award for men's wear. i remember being at the company and realizing how big it was, understanding that he was the first african-american to win that award. and you're -- you know, he was a hip-hop artist crossing over, winning the most prestigious fashion award for the year. >> winning that award was bigger than sean john. it was bigger than me. you know, when we won that award, as i said, we won that award. we all won it together. >> he was able to show that a music brand can make major volume sales. now we're starting to see three digit sales from a music-inspired line that just

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well, basically, the start of wu wear, my expectation of it was nothing other than really self-expression and stylization, a stylization that was, you know, there to accompany our music. but i also wanted wu-tang to be kind of like its own polo or tommy hilfiger. >> hell cats is like i'm not going to keep wearing everybody else's stuff when i can have my own line. that makes sense. but then if you don't pull together the right team, that line is not going to last. and you know what, you might get real estate in that store for 6

to 18 months but you're just taking away another designer's real estate that's really real about it and can give some really good product. >> you weren't going to wear shady. just were not. i mean, there's nothing that made you think that shady was into fashion. you know, as a consumer, you sort of just knew it was a money play. >> he put a million dollars behind all of these different brands, and because they had a hot song. you're as hot as your music. when you're a musician coming out with a clothing brand. they are not really serious about this. they're putting out t-shirts, they are putting out this. you're as good as your brand, your music. if your music starts going south, so does the clothing. >> the fashion industry is fickle. it goes up and down just like the economy. what happened? a number of factors. you had an oversaturation of brands. you had brands moving too fast

into doing the department store business. >> when all the urban brands start to hit, the same stores that used to buy 90% of our collection started ordering 40% or 30% of our collection because now the floor space competition for newer brands. >> if you're a designer and you really want to stay true to who you are, but yet you have a viga that you have to pay or a partner who has another agenda, you're eventually going to clash. >> we had a partner. our partner probably had never seen it go so fast and so big so he wanted to drive at the time all the time. and we were just butting heads constantly. >> people were offering me deals and i was turning them down because i'm like, at 3%, 4% of my company? you mean, you're going to give me 4% of mine? sound like slavery. >> when somebody is paying for

your dream, it's not your dream anymore. it's their dream. i didn't like the way it was made. and then i didn't really like what the perspective was, what was being catered to. i didn't like the moguls all day. >> you can't just say a hip-hop king is going to become the next louis vuitton. louis vuitton was there 130 years ago, 100-odd year ago. >> ralph lauren polo doesn't disappear when a particular style of clothing is no longer popular. so you're talking about, you know, the difference between companies that were able to establish themselves in a society when african-americans were discriminated against economically in businesses. in order to have -- levi's been around for how long? forever. well, it would have been impossible to have had an african-american label making jeans as far back as levi's in american society.

unfortunately, they've not had the staying power. >> thank you all. >> depending on the flavor of the day, the mood of the month, you know, whatever we're into, we wear it. we're proud to wear it. but we put it in a different class of distinction than other designs. and i think that has a lot to do with a lot of deeper discussions about self-esteem, distinctions in class, in race. brands are identifiers as to who we are from head to toe. and it's always like the grass is greener on the other side. >> what do you know about this coat? >> people get robbed for that coat. everybody wants that coat.

it's an expensive coat. i don't associate wearing it because i feel like i might get attacked for what i have. >> this coat right here? people rob people for these coats. they expensive. the youth around here, like in harlem or the bronx, brooklyn, a lot of like the main tough areas, this is like a big fashion, these coats are. a lot of people get robbed for them, get killed for them. >> some kid just got shot. >> brian park. >> on brian bark. >> good evening, i'm joe torres. >> just a short time ago, police charged 16-year-old cory daunten with attempted murder for opening fire on the ice rink in bryant park. >> sources say it started with a fight over a coat and ended with two people shot including a 14-year-old boy whose family fears he may never walk again. >> if you know you're seeing it, it's all over the news, if i was to buy my son a coat that cost $600, i'm going to send him to school with a bulletproof vest. >> back in the days, you got beat up.

stuff got taken. nowadays, everybody resorts to the crazy thing, kids get shot for jackets. you hear about kids getting shot for jordans. it's crazy. it's disturbing. actually really, really disturbing. >> the air jordan shoe frenzy started friday morning, people waiting in line to get their hands on the shoes. >> in georgia, four people arrested as they tried to get a pair of shoes. >> cops spraying everybody. >> espinoza just spent $180 for the air jordans. now all he has to show for the shoes are cuts and bruises. to his head and chest. >> i got an abundance of shoes. when i see a kid get robbed for a pair of jordans, shot for a pair of jordans, sometimes i sit back and look and i'm like, damn.

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traffic and all the activity that was happening online. >> before, what our influences were were confined to what was at our reach, and now with the expansion and the power of the internet, i have access to every fashion, look, brand across the world. so i can be whoever i want to be. >> we're in a space where they are exchanging so many ideas that i think that we're getting back into individual looks. >> it's no longer, you know, it's either urban or it's punk or this or that, you know. it's not preppy. all that stuff to me doesn't mean anything now. >> in hip-hop fashion right now people are taking way more

risks. they feel empowered with a lot more freedom. it's almost like the more risk you take, the more respect that you get. >> everybody want to be recognized, and everybody want to be noticed. i think we've really changed fashion for real for real to where a lot of things were okay was that the world embracing homosexuality. it's given people that would never take risk in style and fashion, giving them the green light now. >> people were scared to just express themselves out of a fear of being called a name or being considered to be uncool in some way or not accepted or being bashed for a reason. certain people just assumed because i liked clothes i was gay. now we've learned to just accept each other's culture. >> a young guy is wearing stuff

out the box, off the block. just stuff from across the pond. he's wearing different type of brands. ♪ >> see everybody is wearing rocawear, sean john and phat farm that became standard to me. that was like normal to the point where it was minimal. i didn't want to do that. it got to things like prada and gucci and versace, john richmond, dolce and gabbana, those brands. >> back when i was running cross colours and karl kani, the artists were talking about cross colours and karl kani. i think it's what was being preached to that consumer and that audience that loves their

music -- so now it's at a point where it's about versace and those high-end brands. ♪ >> i think fashion is cyclic, and everything comes back around, we're at a period where we're trying to buy gucci and mcm, and that happened in the '80s for me. you know. i remember that period. and that's where we're at right now. >> most urban people really don't want things made by other urban people. they want things made by things that they can't attain, that they want to buy into a dream just like everybody else does. >> i think we as a culture, we aspire to guy the gucci and louis and eves st. laurent because that represents to us, success. >> while urban brands were for loyal to the brands that we ys followed. there's always kind of this

cachet of, i'm going to go back to the reliable brands that i'm always used to because somehow those brands have much more staying power. they represent a particular social class that i want to be at. they represent the ultimate in luxury, and the urban brands, they don't represent the same lifestyle that i aspire to have. >> young people want, they want power, they want status and they want wealth. hermes, you have a bran like that you walk in the store and you see 75-year-old women, you any, buying scarves, and tea cups and saddles for horses. it is a classic heritage house. that young taste maker, cool person, is buying into a heritage and legacy that -- that people aspire to. like big big.

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reason why they are very skeptical about, you know, working with musicians or rappers, because we're considered to be lower class than designers. the organized industry of fashion in, you know, america that i could speak to, it suffers from a bad identity. it wants to parrot what's happening in europe, right? it has a self loathing atmosphere where we're never as good as american designers as the french or the, you know, the europeans. why are we awaiting for external approval from that gatekeeper? >> the luxury brands love us. i mean, all the ones that i talked to. they love us. they don't just walk up to me and talk to me about me. i think i spend more time in the

folks who run fashion house and all the integral people there talking about what they love about our industry and the people they love. >> lately a lot of people say oh, yeah, you have a lot of hip hop or rap, representative people that love you and supported you, always come to your show since many years. to me it's inspiring because, you know, these kids, i mean, they are really experiment. really experimental. they all come out. and i like people that are experimental. i like people that they can -- taking risk. >> we are not like the traditional designers that have come through these doors. we have never studied at ralph or come out at homme at lane. we are like yeah our last jobs with sean john, designing with puffy. we are all street brands. we are in this box. that's not what we're doing. it has nothing do with with

sean john. we worked there, things like that. we have always humbly tried not say sean john sometimes. you don't want to be shamed but you always want to be taken seriously in those fashion talks. >> at the same time, we owe a lot to our time spent at sean john. >> oh, for sure. >> my bran is 100% influenced by hip hop. for me, the next generation, because of the doors that russel, puff, and jay opened, it's on my responsibility that i have to do what i did in music. it's got to be ralph level. ♪ >> who is to say i give a definition of what fashion is or what category it should be in? if it's great work, it's great work. >> freedom, like, and your mentality sort of liberates everything.

because it is a mentality. so if you feel free, then you are probably going to dress like you are free. if you dress like you are free, then you are go probably going to be different than everybody else. because it's untethered. it's not bound by popular or trendy opinion. and that's what freedom is, is it's to be yourself. >> fashion is about authentic experiences. so as long as it's authentic experiences and people that are brave enough to have a point of view, there will be fashion. that's what being an artist is. and that's what being a fashion icon is, having the ability to do something that no one else is doing. if you do something that someone else is doing, you are not fresh, you are not fly, you are just copy. what is fresh is coming in and doing something you know no one else does or does it first. >> to be fresh is, to me, is to be recognized, you know, be recognized for your individual style or be recognized for whatever it is that you are putting on display. and when you are fresh, and you are recognized, and people

notice, and, you know, even before they notice, when you know it, when you right here know it, you feel like super man.

up next, three college students are murdered. it looks as if one person had killed them all. >> he picked on young women, picked on pretty women. >> police immediately have a suspect. >> in law enforcement terms, it's almost like winning the lottery. >> but not everyone was convinced he was the one. >> if he's going to brag about three, why not four? >> he mentioned all the other cases, but never mentioned susan schumake. >> for 20 years, questions remained, until decades-old evidence reveals the terrible truth. >> it's a horrifying thing to think that there's more than one monster in your community at one time. ♪