Photo: the art of being female
Chloe Flower
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Chloe Flower Is Redefining Classical Music (With Some Help From Cardi B)
Meet the instrumentalist who performed alongside Cardi B at the 61st GRAMMY Awards
GRAMMYs/Mar 27, 2019 - 12:59 am
Moments before taking the stage for her most visible performance to date, in front of 22 million people, to be exact, Chloe Flower was understandably nervous. The GRAMMY-winning instrumentalist was about to play alongside Cardi B at the 61st GRAMMY Awards.
"When I got offstage, I was mortified, I was like, I think I looked at the camera. Like, a lot," she says over the phone. "And I was like, I don't even know why because I never did that during the rehearsals."
Wearing a Fouad Sarkis-designed couture dress fit for a 17th-century queen while playing a crystal-covered Liberace piano, Flower's now-famous look into the camera at the start of Cardi's "Money" performance didn't appear anxious at all. In fact, it looked more like a challenge to the world, letting it know she had arrived.
The fierce performance by both Flower and Cardi would be one of the most talked about performances of the night. While it may have been the first time most pop music fans became aware of Flower, who grew up in Pennsylvania and began taking serious piano lessons at the age of 12, she'd been making waves on social media for a while, most notably by performing covers of pop and hip-hop hits like the "Despacito" remix by Luis Fonsi, Daddy Yankee and Justin Bieber, as well as "Humble" by Kendrick Lamar.
The instrumentalist, who is also a businesswoman and an activist (Flower is passionate about using music education as a means of preventing human trafficking), had one goal that night, and it's the same goal she strives for every day: to show audiences that classical music is cool and accessible no matter your economic background.
Flower spoke with the Recording Academy about what her experience in the music industry, her activism, performing with Cardi B at the 2019 GRAMMYs, her recent signing with Sony music, her forthcoming album and more.
When did you begin playing piano?
Well, I started very early. I started piano lessons at two because my parents knew that I was musically inclined just because when I was in the crib, before I could talk or walk or anything, I would recognize certain pieces of classical music that I guess I liked back then. I don't particularly love them now, but my mom said when a certain theme came on, I'd get really excited and start yelling. [My parents] are not musical in an applied way, they just love [music] as listeners.
The moment that I really decided to take it seriously was when I was 12. I drove past the piano competition on the way to a shopping mall in Virginia and I stopped there and I was like, "Oh my gosh, there's a piano competition. What's a piano competition?" Because we didn't have that in Pennsylvania, to my knowledge. And so my mom drove me there and we went into the school and I met the winner. The girl who won first place was actually my age. And so I was like, "I want to play like you. You're so much better than me." I like literally went up to them, was like, "Hi, do you want to be my friend?" And I asked her for the number of her piano teacher and she gave it to me and she was so sweet. And I started studying with her piano teacher.
What is your favorite thing about the piano?
Right now, meditation has become such a huge thing. It's becoming more and more mainstream. I think that for me, music has become a form, it has always been rather a form of meditation for me. And I remember, I had a couple of friends who passed away when I was younger and I used to just play piano and it really helped me get through my emotions. It was like an emotional outlet for me growing up. And I don't ever get angry, I don't ever yell, I'm not like a super aggressive person. And I attribute a lot of that ability to express my emotions through music, I attribute that to me being a pianist because I think it's really a form of therapy and rehabilitation and also just meditation. Even when I'm practicing. Just because of the harmony, the physiological response that the body has on when you're not just listening when you're not just playing, but also just even listening.
You've been loaned a very famous piano: a Liberace piano. How did that happen?
So that was a huge coincidence. I actually flew to Vegas for a completely separate reason and that, I went to what I thought was a yoga retreat. But it ended up being kind of a Burning Man type situation. And I don't drink and like that, I don't do drugs. So I was like this is not the right place for me. So I called my Uber driver ... I was like, "Take me to The Strip." And then when I got The Strip, I was like, "I'm not gonna waste this night, this weekend in Vegas. I'm gonna try and make it worth it." So I googled Liberace. I was like, I think he's from here? Or performed here? I wasn't sure. I googled it and found the information for the president of the foundation. His name is Jonathan Warren. And I just, I wrote a comment on their website or emailed and was like, "I'm in town for one night. Would love to meet you and get some inspiration, see some of Liberace's stuff if you have time before I leave." So on the way to the airport, I met with him at the new museum. And the rest is history.
We quickly kind of created this relationship and I said, "Let me help you with fundraising and doing stuff for music and music education." Because I'm a huge music education activist. So I said, "I will help you raise money or I'll help you get the word out, I'll tag you in stuff." And then like a year or two later, I was like, "Why is that amazing piano not, like no one sees it?" It's in a room somewhere off way, way outside the strip of Vegas. And I was like, "I think that that piano should be in my living room." And so I asked him if I could borrow it for a few years. So we did a three-year contract.
You also played a Liberace piano for the Cardi performance, right?
Yes. That piano is inside the museum in Las Vegas. And so when I was doing the rehearsals, I was like, "It's Cardi B." She's wearing Thierry Mugler rhinestones. I was like, "Maybe you guys should use the Liberace piano because it's the rocky crystals. And it would just be cooler to see onstage. I think it could be like a moment." And they loved the idea and so they shipped it out from Vegas.
A perfect match, especially as Cardi, has said she loves Swarovski crystals on her nails.
Exactly, right?
How did the Cardi collab happen?
You know, my publicist, Lauren Ceradini, she introduced me to Marsha St. Hubert, who is a VP at Atlantic and part of Cardi's team at Atlantic Records. And she saw my Instagram ... we only met once, maybe twice. And when the time came for the GRAMMY performance, they wanted to maybe have a pianist. So I don't know if you're familiar with the music video, but there was a moment where Cardi's playing piano or sitting at the piano, rather. And so Marsha suggested me to Tanisha Scott and Cardi. Tanisha Scott is Cardi's creative director ... and they looked at my Instagram and they were like, "Oh, you think she'll do it?" And they called me and then I was like, "Yeah." Like, of course.
She ended up making history that night when she won Best Rap Album. How was it being a part of her big night?
So I think the most surprising thing, to me, about performing with her is how empowering she was for me as an artist. Like, I stood up there. I'm not her, I'm not famous in any way. You know, I'm like a pianist. And she was so adamant about me having my moment in music and in fashion. I just don't think there's a lot of female artists out there or enough female artists out there who are so empowering and would share a stage like that with me. Like I was wearing a completely different outfit the night before the GRAMMY and she stopped the rehearsal and was like, "I don't like your outfit." I was like, "Oh wow." And she told the, she actually told my stylist. My stylist was amazing, Brooklyn Style, and it was a really cool outfit. She told my stylist, Brooklyn, she said, "She doesn't look couture enough and she's not gonna stand out enough. I want her to stand out more."
And then I also, musically, that was aesthetical. And musically, I had written three solos for myself. And they had, some of the team had taken out my second solo and made it shorter and smaller. And she was like, "Where's Chloe's piano?" She was like, "I want to hear more Chloe." And she made them add it back in. So she like, she wanted me to have that moment and she wanted to share the stage with me. And then even afterwards, you know, all that press happens and I was like, "Oh my God." Like every headline, like Time Magazine was like, "Chloe Flower stole the GRAMMYs." You know? And it was like, "[Cardi] might be mad." And then after the performance, she called me, her team called me, they're like, "Cardi B's looking for you. She wants you to come to this dinner." And when I got there, she's like, "Oh my God! Did you see? You're all over Twitter." And she was like, "Ah!" Like jumping up and down hugging me for like five minutes, so happy for me. Like that kind of female empowerment and the whole vibe, the whole energy of the whole team was like that. And it was really very nice experience for me.
The GRAMMYs is a huge night. A lot of people tune in. When you found out that you were going to be sharing the stage with Cardi and even just performing, did you have a goal in mind? Did you have something where you were like if anyone takes anything away from this performance, it's this?
Yeah, definitely. I didn't realize how big the moment was gonna be, but I knew that it was gonna be something. I knew that I was going to be seen because I had the solos. What I really wanted to accomplish was to show the entire audience and whoever was watching me that classical music can be cool and to inspire young kids to want to learn an instrument. Because I don't think that they would have ever seen a pianist onstage with a rapper in that way. And that's specially a moment where I could actually inspire. Even if it's one person, like one kid to like, "Oh, maybe I want to learn the piano." And to really make an impact on music education. So that was, and I know that sounds corny. I don't know how to say it in a non-corny way.
That's always been a real goal for me and that's kind of why I do covers on Instagram. Like I never wanted to do covers, but the young kids keep asking me for them. So I do it really for them. And because they recognize the melody and so they don't recognize Chopin, they don't recognize Rachmaninoff. So for them, when they hear a version of Drake, they're like, "Oh, I recognize that melody, that top line of 'Hotline Bling.'" But then I do it in a classical way and in heels. And so it becomes more, it resonates better with them.
Do you think some people associate classical music with an older crowd?
Yeah. Classical music is, in many ways, inaccessible. So it's inaccessible financially like it's very expensive to go to the opera. And not only just buy a ticket, you know, your cheapest ticket can be $200. But then also people have to dress up when they go. It's not like, people are dressed up when they go to opera. And then you have the element of finance that involves you have to wear nice clothes. You can't wear sweats, you can't wear jeans. And then also it's visually, it doesn't have that pop mainstream aesthetic. It's like it can be seen as sterile, old, and boring. So I think that me in a different kind of outfit coupled with the kind of music it is, that, that can help change the stereotype of the classical musician. Which is a true stereotype.
Going off your point, so many famous pianists that a lot of people think about, you've mentioned like Rachmaninoff, a lot of them are white men. And here you are, a woman of color, killing it.
Yes, definitely. I think that in all industries, not just music, and when you talk about producers, like I want to be a producer. I want to do female producing. There is such a small number of female producers, female classical musicians, and on top of that, musicians of color, of course. It's like, you know, I remember when I first studied at Manhattan School of Music, my first piano teacher during my first month with him, looked at me and he said, "Oh, you play like a man." You just reminded me of that. I actually hadn't thought about that since I was 12. So he said, "You play like a man." And I was like, "What does that mean?"
And I remember thinking, "Oh my God, I'm so excited." My mom was there and she was like, "You played like a man, but you have small hands. That means you played really well." And like I usually never thought about that but right now, but that kind of stereotype that's embedded in a culture, embedded in a profession, like that needs to change. And so I think yeah, thanks for reminding me of that.
The music industry can be very cutthroat for any artist. Specifically for a pianist, what are some of the challenges you face?
My biggest challenge as a pianist, as a solo pianist, is, before the GRAMMYs, people didn't know what to do with me. I have been trying to do this kind of music for nine years. And the only person that really understood me was Babyface and that's why he signed me nine years ago. And as a pianist, when you're an instrumentalist and you don't have a vocal, it's not a mainstream genre. So people are like, "Well, what do I do with you? What do you mean you're doing piano with beat? What do you mean you're wearing heels and feathers?" So the challenge has become trying to really make instrumental music popular again. Because it has been popular in the past. Liberace was very popular ... again a [white man.] But still, instrumentalists and brought instrumental music to the forefront and brought it to the mainstream. And Liberace brought it to television. So that kind of thing, you know, that really, I think the biggest challenge is trying to bring it back in a way that's not an old white man.
What empowers you as a musician and what keeps you going despite all the challenges?
I think I've been very lucky that my parents raised me to, they told me I never have to do anything for, for instance, the money, right? So I said no to a lot of label deals. I turned down a lot of label deals and a lot of money because I believe in my sound. I didn't want to do anything that was corny. I didn't want to do anything that was gimmicky. And a lot of people in marketing and music, they're like, "Oh, do this because this is gonna sell records for a month." And I was like, "No, that's really corny sounding." And for me, that kept me on the right path. That led me to where I am now because I'm true to my opinion and my heart and my sound. And so I think that that was the biggest thing, was that I didn't have to deviate from my musical ethic and waited nine years.
I'm able to produce an album, like I've been doing my album for nine years because I haven't had the ability to really work with the right producers who understand the type of music that I'm trying to make. And finally, because of the GRAMMYs, I'm working with Anthony Jones, and Tommy Brown from [Ariana Grande's] "7 Rings" and "Thank U, Next." They're producing my whole album. And they probably wouldn't have worked with me had it not been for the GRAMMYs. And they may have not worked with me if I had done a techno album in 2012 like somebody wanted me to do, but I said no to, you know? They may be like she's kind of corny. So just, I think staying true to your art and staying true to what you believe in. I think that's been a big part of why I'm here today.
You're also a producer. What made you want to produce and what do you think it means to be a female producer today?
Being a female in the music industry in itself, I've been so lucky because I think because I signed to Baby, I went straight from classical music to Babyface. And Babyface has a very PG studio environment. Nobody in our studio even has, like Kenny (BabyFace) has drank alcohol before or my engineer has had alcohol before. Everyone else that works in our studio has never even tried alcohol. It's like there are no girls in the studio. It's like almost funny, like there's never girls, doesn't have parties. It's not the traditional studio setting. So I'm a woman in the music industry. I have been very sheltered and protected from what people perceive to be the standard studio look, like you know, a rapper or a pop artist studio.
But having said that, the environment in our culture, as you know from the #MeToo movement, it can be hard for a woman to be in a studio, especially a woman who has not established herself, like myself, can get hit on or can get sexually harassed. So I think that's definitely a factor for women when they're trying to work and stay professional. But also, for whatever reason, I don't know exactly why, but there are very few female producers and most of the top producers are men. But there are a lot of female songwriters, but not necessarily beat makers and producers. So when I worked in Kenny's studio, I was able to watch all of his producers, who are very professional. I get to sit with them. I don't ever feel uncomfortable. So I would sit with them for like six hours and watch them program drums and learn how to do it by watching. And then I would watch YouTube tutorials on how to use Logic and how to use Pro Tools. And then I would ask questions to my engineer, Paul Boutin, he's been with Kenny over 20 years. And if I had a question I couldn't figure out on YouTube, I would ask him and I had that comfortable space to do so and to not feel any type of way.
So that, I was so lucky in that way. And so because of that, my nickname became Chlo Tools because they're like, "Oh, you taught yourself how to use Pro Tools." So they started calling me "Chlo Tools" because I was engineering my own projects. And yeah. So then I was like why aren't there so many female producers? Like I would love to one day open a studio of just all like badass female producers, female writers, and female instrumentalists. Like I think that would be like the best place ever. Because that's how my career started, was like empowerment with Cardi and Tanisha and Lauren Ceradini and Marsha. It's like Brooklyn Styles. There's an all-female team. And so I think that it would be cool to have that and to have space for women to go to and feel safe.
So was the Cardi performance your first major pop performance?
Oh my God, yes, definitely. And I was joking to Kenny, Babyface, I call him Kenny 'cause that's his actual name. But I was joking to him that, I was like, "I really wanted to perform with like, you know." I said with Cardi, actually, I said, "I want to perform with Cardi or Ariana or Beyoncé one day." And he was like, "Now you're doing it." And I said, "But why does it have to be at the GRAMMYs?" Like literally in front of millions and millions of, for the first time, performing pop in a way that, you know, I look like that when I'm in the studio producing and writing and when I'm performing. I kind of look like that. Not necessarily that big, but like you know, Tanisha is obviously the creative director with like, "What you're doing is great." She didn't choreograph me, she's like, "Just do it bigger. Go harder." She's like, "When you're onstage, you're gonna look small. So you have to go even bigger." So I did everything I normally do exaggerated. Like I had never done that live. I was like, and in front of that many people and I was like if people might hear. I was like what are people going to think? Am I gonna look crazy? So it was really, I was a little nervous. When I got on stage, I was mortified, I was like, I think I looked at the camera. Like a lot. And I was like, I don't even know why because I never did that during the rehearsals.
How did you calm your nerves? Because you looked so professional!
I know, girl, as the gate was coming up, I started playing before the gate came up and they counted me in. And I started playing and I was like, right before they counted me in, I was like oh my God, why am I doing this to myself? And then the gate comes up and I just black out. I just, I start and it's like you just have to be. I'm like also an Academy Award-winning actress. Like I'm like, I'm an actor. If you can't show it, you know? Because the energy of the audience don't see that. So I just black out, I don't know. But I was very nervous.
You do so much. You also identify as an activist. Talk to me about the issues. I know you mentioned music therapy, music education. Talk to me about the issues you advocate for and how you use your platform for change.
So one of the most important issues to me, other than music education, is human trafficking, the human trafficking epidemic. And that is something that I started working on in 2006 and initially, I had become aware of the campaign, because this is pre-Instagram, like Twitter had just started, and so I was like people don't know about human trafficking. So I said, "Let's do these series of events, like $20 events, raise money for various anti-human trafficking organizations." People would be like, "What's human trafficking?" And so that was an awareness campaign that I started. And then by 2012, 2011, people started to know about it a lot more through social media and celebrity activists, like Ashton Kutcher was very vocal about it and Demi Moore, at the time they were together. So a lot of different celebrities were coming together and being vocal. So then it switched.
So then in 2012, I was like let's start focusing, like to myself, I'm like let's start focusing on prevention. And then what I found was that music education is a major tool of prevention against human trafficking. And I learned that when I had to give my first, kind of like the GRAMMYs, my first-ever public speaking speech was at the United Nations. And I was like writing this speech like oh my God, why do I have to, I wish I could just perform, why do I have to talk? But I said yes because I love a challenge. So I put together. I was like wow, these are the reasons that girls enter human trafficking. They don't necessarily have a sense of identity, they don't have a sense of nobility, they don't have a sense of community. They come from extreme poverty in most cases. And so what I found was that music education programs, specifically orchestral programs, in schools for young kids, they actually provide all of those things.
So you have these kids who are all of a sudden becoming more confident, more disciplined. They have an identity. Their family relationships are becoming stronger. They have their parents coming to see them perform and they're proud. So then the community gets stronger. And so they have all of these benefits that actually are root causes of entering human trafficking. So in that way, music education is really, in a real way, able to overcome material poverty, which is the main cause of human trafficking. So when I realized that, like that become perfect for me because I can combine both things and not have to separate them anymore.
You are continuing to do big things post-GRAMMYs. You signed with Sony in February, right?
I signed with them, yeah, actually I signed the contract on Friday before the GRAMMYs . So I signed with Sony the Friday before the GRAMMYs and I basically decided to sign with them beforehand. I didn't, I was just, I was so excited. I had been shopping labels for nine years and I knew where I wanted to be. I love Sony Masterworks. I had met with the team. They were so amazing. I was like nothing is going to change on Monday morning. Like if this is the biggest performance of my life, I'm still gonna want to be there. I'm still gonna want to be part of that team. So I made a real conscious effort and decision to get that contract signed before the GRAMMYs to show my label I'm serious about being with you guys. Because a lot of people were like, "Don't sign until after the GRAMMYs because you're gonna blow up and like you can get a better deal." And I was like, "No, that might be true, but I want to be with them and I think it would be so great to have a press release happen Monday morning if I do blow up. And that would be great for the label. It would be great for me."
What's next for you? Are you currently making an album?
I'm making an album and it's gonna be a big album. So it'll be 24 songs. And I'm working with Tommy Brown and Anthony Jones ... They're producing it and it's gonna be piano with beats, and also there's gonna be a b-side of just pure strip downs. Still looking at instrumentals. I'm kind of like, covers and originals and some classical. Music that you can relax to or sleep to or study to or have dinner parties to or just listen to passively. But just a stripped down version, you know? So the first single is going to be dropping in April. So it'll either be, I think we're trying to do it before Coachella, so it'll probably be either before Coachella or right after Coachella. And it's going to be a single produced by, again, Tommy and Anthony. It's gonna be piano with beats, and it's gonna be so fun.
Are you thinking about touring?
Definitely. Right now my primary focus is really the music. We've been doing 15 hour days in the studio with very few breaks. Like, sometimes I don't even drink water, which is bad, because I'm like I don't even want to take a pee break. Like I will be dehydrated 'cause of no time. But yeah, definitely. I think once we finish the album we get like the sound right, yes, 100% a tour.
A tribute to the 50th anniversary of hip-hop at the 2023 GRAMMYs
Photo: Robert Gauthier / Los Angeles Times via Getty Images
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GRAMMY.com’s 50th Anniversary Of Hip-Hop Coverage: A Recap
The Recording Academy’s celebration of hip-hop’s 50th anniversary included televised events and captivating interviews. Check out the wide range of articles and features produced by GRAMMY.com commemorating this musical milestone.
GRAMMYs/Dec 28, 2023 - 02:51 pm
When we look back at the Recording Academy’s 2023, the 50th anniversary of hip-hop will loom exceptionally large.
The ongoing celebration permeated every facet of the world’s leading society of music professionals this year, from the 65th Annual Awards Ceremony in February to the special airing of "A GRAMMY Salute To Hip-Hop" in December — a dense, thrillingly kaleidoscopic televised tribute to the breadth of this genre.
One major accompaniment to this was coverage of the genre’s legacy via GRAMMY.com, the editorial site run by the Recording Academy. If you haven’t been keeping up, we’ve got you covered. Here’s a highlight reel of the work GRAMMY.com published in honor of the 50th anniversary of hip-hop.
We Profiled Rising Stars
From Lola Brooke to Tkay Maidza, GRAMMY.com engaged in comprehensive in-depth interviews with artists who are at the forefront of shaping the future of hip-hop, and held a roundtable discussion about exactly what the next 50 years might look like.
We Published Conversations With Legends
DJ Kool Herc and Questlove, who have played unquestionable roles in hip-hop’s continuing evolution, spoke to GRAMMY.com about their profound and abiding connections to the idiom.
The Contributions Of Women Were Highlighted
Without the inspired vision of countless women, hip-hop would not be what it is today. The "Ladies First" segment, which kicked off "A GRAMMY Salute To Hip-Hop" featuring Queen Latifah, Monie Love, and MC Lyte, among other lady greats with Spinderella as DJ, was an ode to this.
In acknowledgment of female trailblazers in a world dominated by men, GRAMMY.com wrote about teen girl pioneers, women behind the scenes, a revealing Netflix doc, and women artists pushing the genre forward in 2023, from Ice Spice to Lil Simz.
We Revisted Hip-Hop’s Biggest Releases
From Enter The Wu-Tang (36 Chambers) to Jay-Z’s The Black Album to Cardi B’s Invasion of Privacy, GRAMMY.com dove deep into the core hip-hop canon. We also broke down the genre’s development decade by decade through the 70s, 80s, 90s, 00s, 10s, and 20s, with a focus on classic albums from each era.
We Criss-Crossed The Country
GRAMMY.com’s series of regional guides — from the Bay Area and SoCal, to Texas and the Dirty South, to D.C. and NYC — highlight hip-hop’s diversity of culture and sound.
We Went International
Although hip-hop is a quintessentially American phenomenon, its impact, appeal, and influence has spread worldwide. The international appetite for hip-hop was showcased in coverage of Latinx and Argentinian rappers to know, as well as five international hip-hop scenes to know: France, Nigeria, Brazil, South Africa, and England.
We Explored Hip-Hop’s Larger Impact
Hip-hop is more than a sound. It’s a culture that permeates almost every sector of life. Showcasing this effervescence, GRAMMY.com ran pieces about the evolution of hip-hop’s influence on educational curriculum worldwide, as well as its biggest fashion and style moments.
We Covered On Stage Celebrations
"A GRAMMY Salute To 50 Years Of Hip-Hop," the two-hour special that aired in December on CBS and is available on demand on Paramount+ represented a culmination of the Recording Academy’s 50th year anniversary celebration.
Revisit the 2023 GRAMMYs’ hip-hop revue, and check out a recap of "A GRAMMY Salute" with photos, a rundown of all the performers and songs and coverage of the Black Music Collective’s Recording Academy honors in February.
It Didn’t Stop There…
Notable coverage also included the evolution of the mixtape, 11 Hip-Hop Subgenres to Know and 10 Binge-worthy Hip-Hop Podcasts, as well as a breakdown of Jay-Z’s Songbook and Snoop Dogg’s discography.
For everything GRAMMY.com and all things hip-hop — including our rap-focused run in the GRAMMY Rewind series — visit here.
LL Cool J
Credit: Paul Natkin/Getty Images
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20 Iconic Hip-Hop Style Moments: From Run-D.M.C. To Runways
From Dapper Dan's iconic '80s creations to Kendrick Lamar's 2023 runway performance, hip-hop's influence and impact on style and fashion is undeniable. In honor of hip-hop's 50th anniversary, look back at the culture's enduring effect on fashion.
GRAMMYs/Nov 29, 2023 - 03:01 pm
In the world of hip-hop, fashion is more than just clothing. It's a powerful means of self-expression, a cultural statement, and a reflection of the ever-evolving nature of the culture.
Since its origin in 1973, hip-hop has been synonymous with style — but the epochal music category known for breakbeats and lyrical flex also elevated, impacted, and revolutionized global fashion in a way no other genre ever has.
Real hip-hop heads know this. Before Cardi B was gracing the Met Gala in Mugler and award show red carpets in custom Schiaparelli, Dapper Dan was disassembling garment bags in his Harlem studio in the 1980s, tailoring legendary looks for rappers that would appear on famous album cover art. Crescendo moments like Kendrick Lamar’s performance at the Louis Vuitton Men’s Spring-Summer 2023 runway show in Paris in June 2022 didn’t happen without a storied trajectory toward the runway.
Big fashion moments in hip-hop have always captured the camera flash, but finding space to tell the bigger story of hip-hop’s connection and influence on fashion has not been without struggle. Journalist and author Sowmya Krishnamurphy said plenty of publishers passed on her anthology on the subject, Fashion Killa: How Hip-Hop Revolutionized High Fashion, and "the idea of hip hop fashion warranting 80,000 words."
"They didn't think it was big enough or culturally important," Krishnamurphy tells GRAMMY.com, "and of course, when I tell people that usually, the reaction is they're shocked."
Yet, at the 50 year anniversary, sands continue to shift swiftly. Last year exhibitions like the Fashion Institute of Technology’s Fresh, Fly, and Fabulous: Fifty Years of Hip-Hop Style popped up alongside notable publishing releases including journalist Vikki Tobak’s, Ice Cold. A Hip-Hop Jewelry Story. Tabak’s second published release covering hip-hop’s influence on style, following her 2018 title, Contact High: A Visual History of Hip-Hop.
"I wanted to go deeper into the history," Krishnamurphy continues. "The psychology, the sociology, all of these important factors that played a role in the rise of hip-hop and the rise of hip-hop fashion"
What do the next 50 years look like? "I would love to see a hip-hop brand, whether it be from an artist, a designer, creative director, somebody from the hip-hop space, become that next great American heritage brand," said Krishnamurphy.
In order to look forward we have to look back. In celebration of hip-hop’s 50 year legacy, GRAMMY.com examines iconic moments that have defined and inspired generations. From Tupac walking the runways at Versace to Gucci's inception-esque knockoff of Dapper Dan, these moments in hip-hop fashion showcase how artists have used clothing, jewelry, accessories, and personal style to shape the culture and leave an indelible mark on the world.
*The cover art to Eric B and Rakim’s* Paid in Full
Dapper Dan And Logomania: Luxury + High Fashion Streetwear
Dapper Dan, the legendary designer known as "the king of knock-offs," played a pivotal role in transforming luxury fashion into a symbol of empowerment and resistance for hip-hop stars, hustlers, and athletes starting in the 1980s. His Harlem boutique, famously open 24 hours a day, became a hub where high fashion collided with the grit of the streets.
Dapper Dan's customized, tailored outfits, crafted from deconstructed and transformed luxury items, often came with significantly higher price tags compared to ready-to-wear luxury fashion. A friend and favorite of artists like LL Cool J and Notorious B.I.G., Dapper Dan created iconic one-of-a-kind looks seen on artists like Eric B and Rakim’s on the cover of their Paid in Full album.
This fusion, marked by custom pieces emblazoned with designer logos, continues to influence hip-hop high fashion streetwear. His story — which began with endless raids by luxury houses like Fendi, who claimed copyright infringement — would come full circle with brands like Gucci later paying homage to his legacy.
Athleisure Takes Over
Hip-hop's intersection with sportswear gave rise to the "athleisure" trend in the 1980s and '90s, making tracksuits, sweatshirts, and sneakers everyday attire. This transformation was propelled by iconic figures such as Run-D.M.C. and their association with Adidas, as seen in photoshoots and music videos for tracks like "My Adidas."
*LL Cool J. Photo: Paul Natkin/Getty Images*
LL Cool J’s Kangol Hat
The Kangol hat holds a prominent place in hip-hop fashion, often associated with the genre's early days in the '80s and '90s. This popular headwear became a symbol of casual coolness, popularized by hip-hop pioneers like LL Cool J and Run-D.M.C. The simple, round shape and the Kangaroo logo on the front became instantly recognizable, making the Kangol an essential accessory that was synonymous with a laid-back, streetwise style.
*Dr. Dre, comedian T.K. Kirkland, Eazy-E, and Too Short in 1989. Photo: Raymond Boyd/Getty Images*
N.W.A & Sports Team Representation
Hip-hop, and notably N.W.A., played a significant role in popularizing sports team representation in fashion. The Los Angeles Raiders' gear became synonymous with West Coast hip-hop thanks to its association with the group's members Dr. Dre, Eazy-E, and Ice Cube, as well as MC Ren.
*Slick Rick in 1991. Photo: Al Pereira/Getty Images/Michael Ochs Archives*
Slick Rick’s Rings & Gold Chains
Slick Rick "The Ruler" has made a lasting impact on hip-hop jewelry and fashion with his kingly display of jewelry and wealth. His trendsetting signature look — a fistful of gold rings and a neck heavily layered with an array of opulent chains — exuded a sense of grandeur and self-confidence. Slick Rick's bold and flamboyant approach to jewelry and fashion remains a defining element of hip-hop's sartorial history, well documented in Tobak's Ice Cold.
Tupac Walks The Versace Runway Show
Tupac Shakur's runway appearance at the 1996 Versace runway show was a remarkable and unexpected moment in fashion history. The show was part of Milan Fashion Week, and Versace was known for pushing boundaries and embracing popular culture in their designs. In Fashion Killa, Krishnamurpy documents Shakur's introduction to Gianni Versace and his participation in the 1996 Milan runway show, where he walked arm-in-arm with Kadida Jones.
*TLC. Photo: Tim Roney/Getty Images*
Women Embrace Oversized Styles
Oversized styles during the 1990s were not limited to menswear; many women in hip-hop during this time adopted a "tomboy" aesthetic. This trend was exemplified by artists like Aaliyah’s predilection for crop tops paired with oversized pants and outerwear (and iconic outfits like her well-remembered Tommy Hilfiger look.)
Many other female artists donned oversized, menswear-inspired looks, including TLC and their known love for matching outfits featuring baggy overalls, denim, and peeking boxer shorts and Missy Elliott's famous "trash bag" suit worn in her 1997 music video for "The Rain." Speaking to Elle Magazine two decades after the original video release Elliot told the magazine that it was a powerful symbol that helped mask her shyness, "I loved the idea of feeling like a hip hop Michelin woman."
Diddy Launches Sean John
Sean "Diddy" Combs’ launch of Sean John in 1998 was about more than just clothing. Following the success of other successful sportswear brands by music industry legends like Russell Simmons’ Phat Farm, Sean John further represented a lifestyle and a cultural movement. Inspired by his own fashion sensibilities, Diddy wanted to create elevated clothing that reflected the style and swagger of hip-hop. From tailored suits to sportswear, the brand was known for its bold designs and signature logo, and shared space with other successful brands like Jay-Z’s Rocawear and model Kimora Lee Simmons' brand Baby Phat.
*Lil' Kim. Photo: Ron Galella/Ron Galella Collection via Getty Images*
Lil’ Kim Steals The Show
Lil' Kim’s daring and iconic styles found a kindred home at Versace with
In 1999, Lil' Kim made waves at the MTV Video Music Awards with her unforgettable appearance in a lavender jumpsuit designed by Donatella Versace. This iconic moment solidified her close relationship with the fashion designer, and their collaboration played a pivotal role in reshaping the landscape of hip-hop fashion, pushing boundaries and embracing bold, daring styles predating other newsworthy moments like J.Lo’s 2000 appearance in "The Dress" at the GRAMMY Awards.
Lil Wayne Popularizes "Bling Bling"
Juvenile & Lil Wayne's "Bling Bling" marked a culturally significant moment. Coined in the late 1990s by Cash Money Records, the term "bling bling" became synonymous with the excessive and flashy display of luxury jewelry. Lil Wayne and the wider Cash Money roster celebrated this opulent aesthetic, solidifying the link between hip-hop music and lavish jewelry. As a result, "bling" became a cornerstone of hip-hop's visual identity.
Jay-Z x Nike Air Force 1
In 2004, Jay-Z's partnership with Nike produced the iconic "Roc-A-Fella" Air Force 1 sneakers, a significant collaboration that helped bridge the worlds of hip-hop and sneaker culture. These limited-edition kicks in white and blue colorways featured the Roc-A-Fella Records logo on the heel and were highly coveted by fans. The collaboration exemplified how hip-hop artists could have a profound impact on sneaker culture and streetwear by putting a unique spin on classic designs. Hova's design lives on in limitless references to fresh white Nike kicks.
Daft Punk and Pharrell Williams. Photo: Mark Davis/WireImage
Pharrell Williams' Hat At The 2014 GRAMMYs
Pharrell Williams made a memorable red carpet appearance at the 2014 GRAMMY Awards in a distinctive and oversized brown hat. Designed by Vivienne Westwood, the hat quickly became the talk of the event and social media. A perfect blend of sartorial daring, Pharrell's hat complemented his red Adidas track jacket while accentuating his unique sense of style. An instant fashion moment, the look sparked innumerable memes and, likely, a renewed interest in headwear.
Kanye’s Rise & Fall At Adidas (2013-2022)
Much more than a "moment," the rise and eventual fall of Kanye’s relationship with Adidas, was as documented in a recent investigation by the New York Times. The story begins in 2013 when West and the German sportswear brand agreed to enter a partnership. The collaboration would sell billions of dollars worth of shoes, known as "Yeezys," until West’s anti-semitic, misogynistic, fat-phobic, and other problematic public comments forced the Adidas brand to break from the partnership amid public outrage.
Supreme Drops x Hip-Hop Greats
Supreme, with its limited drops, bold designs, and collaborations with artists like Nas and Wu-Tang Clan, stands as a modern embodiment of hip-hop's influence on streetwear. The brand's ability to create hype, long lines outside its stores, and exclusive artist partnerships underscores the enduring synergy between hip-hop and street fashion.
*A model walks the runway at the Gucci Cruise 2018 show. Photo: Pietro D'Aprano/Getty Images*
Gucci Pays "homage" to Dapper Dan
When Gucci released a collection in 2017 that seemingly copied Dapper Dan's distinctive style, (particularly one look that seemed to be a direct re-make of a jacket he had created for Olympian Dionne Dixon in the '80s), it triggered outrage and accusations of cultural theft. This incident sparked a conversation about the fashion industry's tendency to co-opt urban and streetwear styles without proper recognition, while also displaying flagrant symbols of racism through designs.
Eventually, spurred by public outrage, the controversy led to a collaboration between Gucci and Dapper Dan, a significant moment in luxury fashion's acknowledgement and celebration of the contributions of Black culture, including streetwear and hip-hop to high fashion. "Had Twitter not spotted the, "Diane Dixon" [jacket] walking down the Gucci runway and then amplified that conversation on social media... I don't think we would have had this incredible comeback," Sowmya Krishnamurphy says.
A$AP Rocky x DIOR
Self-proclaimed "Fashion Killa" A$AP Rocky is a true fashion aficionado. In 2016, the sartorially obsessed musician and rapper became one of the faces of Dior Homme’s fall/winter campaign shot by photographer Willy Vanderperre — an early example of Rocky's many high fashion collaborations with the luxury European brand.
A$AP Rocky's tailored style and impeccable taste for high fashion labels was eloquently enumerated in the track "Fashion Killa" from his 2013 debut album Long. Live. ASAP, which namedrops some 36 luxury fashion brands. The music video for "Fashion Killa" was co-directed by Virgil Abloh featuring a Supreme jersey-clad Fenty founder, Rihanna long before the two became one of music’s most powerful couples. The track became an anthem for hip-hop’s appreciation for high fashion (and serves as the title for Krishnamurphy’s recently published anthology).
*Cardi B. Photo: Steve Granitz/WireImage*
Cardi B Wears Vintage Mugler At The 2019 GRAMMYs
Cardi B has solidified her "it girl" fashion status in 2018 and 2019 with bold and captivating style choices and designer collaborations that consistently turn heads. Her 2019 GRAMMYs red carpet appearance in exaggerated vintage Mugler gown, and many custom couture Met Gala looks by designers including Jeremy Scott and Thom Browne that showcased her penchant for drama and extravagance.
But Cardi B's fashion influence extends beyond her penchant for custom high-end designer pieces (like her 2021 gold-masked Schiaparelli look, one of nine looks in an evening.) Her unique ability to blend couture glamour with urban chic (she's known for championing emerging designers and streetwear brands) fosters a sense of inclusivity and diversity, and makes her a true trendsetter.
Beyoncé & Jay-Z in Tiffany & Co.’s "About Love" campaign
The power duo graced Tiffany & Co.'s "About Love'' campaign in 2021, showcasing the iconic "Tiffany Yellow Diamond," a 128.54-carat yellow worn by Beyoncé alongside a tuxedo-clad Jay-Z. The campaign sparked controversy in several ways, with some viewers unable to reconcile the use of such a prominent and historically significant diamond, sourced at the hands of slavery, in a campaign that could be seen as commercializing and diluting the diamond's cultural and historical importance. Despite mixed reaction to the campaign, their stunning appearance celebrated love, adorned with Tiffany jewels and reinforced their status as a power couple in both music and fashion.
Kendrick Lamar Performs At Louis Vuitton
When Kendrick Lamar performed live at the Louis Vuitton Men’s spring-summer 2023 runway show in Paris in June 2022 following the passing of Louis Vuitton’s beloved creative director Virgil Abloh, he underscored the inextricable connection between music, fashion and Black American culture.
Lamar sat front row next to Naomi Campbell, adorned with a jeweled crown of thorns made from diamonds and white gold worth over $2 million, while he performed tracks including "Savior," "N95," and "Rich Spirit'' from his last album, Mr. Morale and the Big Steppers before ending with a repeated mantra, "Long live Virgil." A giant children’s toy racetrack erected in the Cour Carrée of the Louvre became a yellow brick road where models marched, clad in designer looks with bold, streetwear-inspired design details, some strapped with oversized wearable stereo systems.
Pharrell Succeeds Virgil Abloh At Louis Vuitton
Pharrell Williams' appointment as the creative director at Louis Vuitton for their men's wear division in 2023 emphasized hip-hop's enduring influence on global fashion. Pharrell succeeded Virgil Abloh, who was the first Black American to hold the position.
Pharrell's path to this prestigious role, marked by his 2004 and 2008 collaborations with Louis Vuitton, as well as the founding of his streetwear label Billionaire Boy’s Club in 2006 alongside Nigo, the founder of BAPE and Kenzo's current artistic director, highlights the growing diversity and acknowledgment of Black talent within high fashion.
Kendrick Lamar
Photo: Jeff Kravitz/FilmMagic
video
GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016
Upon winning the GRAMMY for Best Rap Album for 'To Pimp a Butterfly,' Kendrick Lamar thanked those that helped him get to the stage, and the artists that blazed the trail for him.
GRAMMYs/Oct 13, 2023 - 06:01 pm
Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.
A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.
This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system.
"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."
Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!
He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.
"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.
"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."
To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood."
Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.
Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes.
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Cardi B and Megan Thee Stallion
Photo: Jora Frantzis
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Listen: Megan Thee Stallion & Cardi B Release New Song, "Bongos"
The single is the first collaboration between the GRAMMY-winning rappers since 2020's "WAP."
GRAMMYs/Sep 8, 2023 - 06:02 pm
GRAMMY-winning artists Megan Thee Stallion and Cardi B are back with a new single, "Bongos." The song highlights the duo's flow and connection, as they trade verses over a bouncy, repetitive and infectious beat fit for the club.
Released at the brink of autumn, the accompanying video for "Bongos" features vibrant visuals, majestic choreography and a Latin-inspired rhythm that makes listeners yearn for summer. The tropical-themed video was directed by Tanu Muino, who is known for her work on Harry Styles' "As it Was" and Normani’s "Wild Side."
The single’s cover art was teased a week prior on social media, showcasing Cardi B and Megan Thee Stallion holding lollipops with bright matching swimsuits and pastel-colored curls.
"Bongos" marks the second collaboration since the duo's groundbreaking "WAP" single, which was performed at the 2021 GRAMMY awards and made history for its debut as the first female rap collaboration to top Billboard’s Hot 100 chart.
Fans who were expecting a "WAP sequel" won't be disappointed. During an interview with DJ Whoo Kid, Cardi B speaks on the song themes and the difference between WAP, saying "We are talking a little, you know, about some p—y, but not like ‘WAP’ type of stuff,” she said.
Cardi B has consistently been on the charts since her 2018 debut LP, Invasion of Privacy which won Best Rap Album at the 2019 GRAMMYs. Recent collaborations including "Point Me 2" with FendiDa Rappa, "Put it On the Floor" with Latto and "Jealousy" with Offset have reached topped charts and there’s speculation for a new album soon.
It’s uncertain if "Bongos" will appear on Cardi B’s sophomore album. She recently told Vogue Mexico x LatinAmerica, "I’m not going to release any more collaborations, I’m going to put out my next solo single.”
This is Megan’s first feature since her sophomore album, Traumazine, which was released in 2022. Megan announced a break from music in early 2023 to focus on her mental health amid the public trial against Tory Lanez.
Megan Thee Stallion has continued to flourish in the media, hosting "Saturday Night Live" and venturing into acting roles including Disney+ series "She-Hulk; Attorney at Law."