Hip Hop is more than just music and rapping. It’s a culture whose fashion is reflective of the Black experience in America. Through the documentary FRESH DRESSED, director Sacha Jenkins explores how Hip Hop fashion made it from the gritty streets of the South Bronx to Paris Fashion Week, all while the wearers were using fresh clothing to convey their identity and their worth.
The film draws from a mix of archival footage and candid interviews with Kanye West, Pharrell Williams, Sean “Puffy” Combs, Nas, Pusha T, Swizz Beatz, Damon Dash, André Leon Talley, A$AP Rocky, Marc Ecko, Dapper Dan, Big Daddy Kane, Riccardo Tisci, and many more.
UPTOWN sat down with Jenkins to discuss the purpose of Hip Hop fashion, the evolution of urban fashion, and the motive behind the film that was released on in theaters and on OnDemand today.
FRESH DRESSED director Sacha Jenkins
UPTOWN: What was the driving force behind the film? Why is this moment in time significant?
Sacha Jenkins: It takes a while for Black people to get films made. I grew up in New York. It’s a reflection of my childhood and what I remember, so the stars aligned and it came together when it did. It’s interesting it’s coming together at a time where there are films like Dope, the Nas film Time is Illmatic, and there’s another film called Rubble Kings that’s really amazing and it’s about Hip Hop. It just happened that it all went down when it did, how it did.
UPTOWN: You said it took a long time to make FRESH DRESSED. How long were you working on it?
Jenkins: From beginning to end, close to two years, which in the scheme of documentaries isn’t a long time.
UPTOWN: Coming up in New York in the 1970s and ‘80s, what did “fresh” mean to you and how has that definition changed for the man you are today?
Jenkins: Fresh back then meant superior, excellent, good, competitive, strong. On a superficial level, brand new, fresh out the box. So in the inner-city growing up back then where people didn’t have much, the one thing we could control, the one thing that could announce to the world that we had something, for whatever reason, was how we were dressed. So if people could see that you had a new pair of Shell Toe Adidas with a new pair of Lee jeans and a Le Tigre shirt, that looked like you just walked out of the store, that communicated something to your peers. Fresh was also language. It was the amplification of the idea that you are going places and doing things and that you’re somebody, and your clothing is a reflection of that.
That mentality … I think I’m a bit more sophisticated now and I think I understand and that’s what the film is really about — the psychology of Hip Hop and why we do certain things. I still can connect with the idea ‘I want those kicks because they’re fresh.’ And that aesthetic is sometimes still applied but I’m not addicted to being fresh. I don’t have to have the newest, latest shit all the time. I’m just a grown-ass man. I don’t keep them in the box like a lot of young people do. I wear my shit. I’m not going to stand on line for two days to be fresh.
UPTOWN: That’s interesting because there’s a point in Fresh Dressed in which Mayor, who says he can wear a new pair of sneakers everyday for seven years, discussed kids getting killed over sneakers, and he’s just surrounded by them. Priorities do change.
Jenkins: Well, not for some grown-ass men.
B boys on the street, Brooklyn circa 1983 [Image: Jamel Shabazz]
UPTOWN: Did you make this film for people who are already immersed in Hip Hop, who grew up with it, or was it for people who are looking from the outside in?
Jenkins: It was both. It was produced with CNN Films and it’s eventually going to air on CNN proper. So CNN’s audience is not your core Hip Hop folk. So I wanted to do something for the core people who get it, who might not know some of this stuff. They can appreciate it and enjoy it. People who know nothing about it can walk away saying I learned something. I screened the film at Sundance and this older white lady came up to me and said “You know, I’m not fresh,” and she was just looking down at her clothes. “You know, I just wear stuff. And I never thought of any of this. I didn’t understand how important clothing was to these people.” So reaching a broad audience and educating people was also very important to me.
UPTOWN: One of the things I learned from watching the film was the term “Sunday best” came from slavery times. I grew up experiencing Hip Hop, but we don’t always know what the roots are.
Jenkins: Most people don’t know. If you ask anyone “Sunday best.” They’ll say “Yeah, it means looking good for church.” Yeah, you’re half right, but did you know this? And they’re like “No.” So when you think, growing up in New York, Easter was important back in the days because when you’d come back from Easter break you had to be fresh. If you weren’t fresh, you were going to ridiculed by all your friends. And I knew a lot of people who couldn’t get fresh, so they sold crack and they were making in 1987 $1200 a day. Selling crack, you could buy your whole building sneakers.
Then you think: Black people, new world that they’re in, a whole new belief system, a whole new way to dress, all these things that are imposed on them. And then years later, here we are it’s Easter and Jesus is back. So you gotta come back to school looking fresh, but you can’t afford it. So we go from slavery to the South Bronx which looks like World War II Poland and what’s changed? You have gang members in 1971 on a television show and host is like “You guys are dressed like warriors. Why are you dressed like this? Who’s your enemy?” “The enemy is the police. They’re very racist.” What’s changed? That’s why the film itself says fashion is a way to touch on these bigger picture issues that are still affecting us now.
UPTOWN: Hip Hop fashion began organically. It was what kids were wearing in the streets. But then in the late-‘90s urban fashion grew into big business. Why was it important for the film to focus on that progression?
Jenkins: Well, I wanted people to see the innovation and kind of understand the climate that created Hip Hop. New York in the ‘70s was on the verge of bankruptcy, the education system, especially in New York City, was horrible, and people were coming off the ‘60s and were looking for their identities. You have a strong Puerto Rican movement of folks wanting liberty for Puerto Rico. And the Black Power movement. All these movements coming up. So identity was really important at a time when America really wasn’t that great for people of color and not much has changed.
So they created these organizations, these gangs. And the gangs wanted to be like the Hells Angels but they couldn’t because they were Black and Latino, so they make their own Hells Angels. Then there’s a gang truce. Someone dies. Someone who actually out to make peace is senselessly murdered and that leads to a truce. The climate on the street changes so you see the letters going from the jackets to the sweatshirts. The iron-on letters. The battling is not killing each other now, it’s dance. You see this social, cultural, political transformation and clothing is broadcasting all of that. Then people use what they have around them.
Hip Hop is a metaphor for the Black experience. What are chitterlings? Stuff that nobody else wanted. And we turned it into a delicacy. What is Hip Hop? Taking all these different things that we don’t see ourselves in. We don’t see ourselves in classical music, and blah, blah, blah. We put all the stuff together and make the song and then we splash the attitude on top. What’s that? That’s the rap. That’s the energy. That’s the attitude. So all this stuff is happening, were mixing and matching, and working with what we have. Chitterlings. Lee Jeans. The stuff that’s around us.
And then someone says “How come we’re not making money from the stuff explicitly for us?” And then that starts to happen. You have Dapper Dan. You know Gucci and Louis wouldn’t sell to him in his Harlem Shop, so he said “You know, fuck that. I know what we want. I’m going to Blackenize it!” So he pioneers this thing. And then the rappers who were wearing Dapper Dan all of a sudden are like “Nah, let’s get our own clothing brands.” Then they make all this money. And then there’s this collapse. There’s this sense that “Rocawear don’t make me feel good. I wanna wear Margiela.” I wanted folks to see the kind of evolution and how fashion was mid-wife. Fashion was there the whole time. Fashion was a reflection of where Hip Hop. Just look at Kanye and Jay Z now. The way they dress is a reflection of where they’ve gone.
UPTOWN: Since Fresh Dressed tackles how Hip Hop fashion helped Black people define their identity, what are your thoughts on Rachel Dolezal claiming to identify as Black?
Jenkins: Rachel is cray! You’re denying that these people are your parents. You’re saying you’re living in a teepee. You went to Howard [University] as a white woman and you sued as a white woman because they said supposedly that you’re white and you should be able to be on the come-up through your family, but then you’re a Black woman and sort of taking that perspective too. If she were that Black woman at Howard, she wouldn’t have gone against the other white Rachel. Man, she cray!