Honolulu Streetwear: A Look into Aesthetics, Style, and Culture

By Mark Oandasan and Andy Reilly

Introduction

Hawai‘i[1] is a culturally varied archipelago with a rich and diverse cultural history expressed through dress.[2] Due to a long history of recruiting labour from Asia, Portugal, Sicily, and Puerto Rico, the current population is composed of 37% Asian, 25% White, 24% mixed, 11% Hispanic or Latino, and only 10% Native Hawaiian, with the remainder composed of Black, American Indian and Alaska Native peoples (QuickFacts Hawai‘i, 2020). What the U.S. Census data fails to consider or include among these demographics is any representation of a “Local[3] identity.” Although Native Hawaiian (Kānaka Maoli) people claim ancestry from the Indigenous population of Hawai‘i, “Local” has evolved into a term that now also includes descendants of early immigrants to Hawai‘i, who have developed a distinct culture that combines Asian, Polynesian, and Hawaiian values[4] (Okamura, 1980). A Local identity—held by those who are descendants of early immigrants to the Hawaiian Islands—is a way to claim an identity in opposition to foreigners or (white) haoles. 

Despite this rich population diversity, most of the research on clothing in Hawai‘i has focused on “alohawear.” Due to the Islands’ representation in the tourism industry, Hawai‘i fashion has become synonymous with bright, floral aloha shirts and matching mu‘umu‘us. While there is ample research on the Hawaiian shirt and the associated alohawear category of dress (e.g., Arthur 2000, 2006; Brown & Arthur, 2002; Hope, 2000; Morgado, 2003, 2024; Reilly, 2024), very little attention has been paid to other areas of dress worn every day by residents of the Hawaiian Islands (e.g., Kelly, 2003; Moran, Pohlmann, & Reilly, 2014). This results in a body of literature lacking a well-rounded exploration of the residential population of Hawai‘i and how they express themselves through other forms of dress. 

For example, U.S. West Coast streetwear culture is heavily inspired by skating and surf culture as seen in Los Angeles and San Diego, whereas East Coast streetwear mixes Hip Hop and couture influences, as seen in New York and Miami (Oe, 2022; Menedez & Nitschke, 2019). The aesthetics, streetwear, and fashion itself are created through many different avenues, such as culture, music, upbringing, and geographic location. This paper aims to examine the aesthetics and culture of streetwear in Hawai‘i, employing interviews from both streetwear small business owners and streetwear consumers in Honolulu, Hawai‘i conducted in 2022. Furthermore, this paper explores the diverse ethnicities of the Hawaiian Islands, the various views on different fashion styles held by Locals, and how social media has contributed to the Hawai‘i streetwear aesthetic and culture. 

Literature Review

General overview of streetwear

According to spatial diffusion theory, trends originate in a geographic location due to the unique culture, climate, and people of that location (Reilly, 2021). Grunge, from the northwest U.S., and Casual Fridays, from Hawai‘i, are two examples of senses of dress unique to their place of origin that came to influence dress practices on a global scale. While the aim of this paper is not the distribution of trends from the city of Honolulu, it does focus on the city as the locus for a unique interpretation of street style and streetwear. 

Questions about what defines street style span fashion, anti-fashion, subcultural influences, quirkiness, and authenticity. Moore (2017) argues that street style revolves around “style tribes,” using Ted Polhemus’ (1994) term of a particular and unique aesthetic style of a group of people who share a common interest: “Since the early 2000s the term ‘street style’ has been used as a general description of dress assemblages seen most anywhere other than a runway or fashion editorial, and the prevailing implication of the term is that street style is an expression of personal style” (p. 3). In contrast, Woodward (2009) argues that the idea of street style as individual, eclectic mix-and-match style is actually “the intersection of several domains: the high street, fashion magazines, and the background, relationships, and preferences of the consumer and their social milieu” (p. 85). 

Street style in the 1990s in fashion-forward cities like New York and Los Angeles led to the development of a new market segment within the industry: streetwear, a combination of Hip Hop, surf, skate, and anti-fashion aesthetics (Moreno, 2021). The popular online fashion and culture magazine, Hypebeast, defines streetwear as “fashionable, casual clothes…involv[ing] the production, promotion, sales, and resale of casual fashion…sneakers, but also T-shirts and other items” (Hybeast.com, 2019). Rajendran (2012) notes that youth culture contributes to the development of streetwear fashion and uses the theory of social interactionism to argue clothing is a symbol of identity. Historically, street style has been documented as what the general public wears in opposition to the haute couture and designer fashions that the wealthy consume. For example, in the 20th century alone, a spate of youth subcultures emerged, including Greasers, Teddy Boys, hippies, hipsters, Castro Clones, modern primitives, punks, ravers, goths, grunge musicians, skinheads, surfers, and skateboarders, to name a few— each with a respective identifying dress style. 

By the end of the 20th century, the New York Hip Hop scene played a big part in streetwear fashion and culture (DeLeon et al., 2018). Dapper Dan, Grandmaster Flash, and Martha Cooper contributed to the rise of streetwear culture in New York. Dapper Dan repurposed fabrics with luxury logos and prints from designer brands, like Gucci and Fendi, to create new silhouettes and garments like tracksuits and bomber jackets. Grandmaster Flash contributed to streetwear through his influence in the Hip Hop music scene. Martha Cooper, a renowned photojournalist, also gave rise to streetwear by documenting changing culture and fashion in her work. Furthermore, the mix of different subcultures in the Hip Hop scene, such as breakdancing, rapping, and gang activity contributed to the aesthetics of streetwear (DeLeon et al., 2018). Breakdancers on the East Coast were often seen wearing Adidas tracksuits, sneakers—notably Puma suede or Adidas Superstars—and bucket hats, while on the U.S. West Coast, sportswear such as basketball caps and coach jackets grew more prominent on the streets. While the East Coast was more influenced by Hip Hop and workwear, the West Coast was influenced by surf, skate, and gang culture. We suggest this is due to the cultural urban environment of major centers of fashion like New York and Boston on the East Coast, while on the West coast, where weather was more tropical and warm, streetwear enthusiasts looked to clothing that was looser and reflected the popularity of surf and beach culture in southern California. West Coast style was also no doubt influenced by gang affiliations, where the colours blue and red were associated with the infamous street gangs Crips and Bloods, respectively (Hethorn, 1994). 

Streetwear as a fashion market segment emerged in the late 20th century and became a cultural force in the 1990s, rising simultaneously from the Hip Hop music scene in New York as well as the skating and surf culture in California in the 1970s and 1980s (Haywood, 2020; Rajendran, 2012). Online sources often credit Shawn Stüssy as a foundational figure in the creation and headlining of the popularization of streetwear fashion (e.g., Maeland, 2012; Highsnobiety, 2016). Starting his career in the early 1980s, Stüssy often drew inspiration from surf, skate, and Hip Hop cultures. Although he initially started a surf-wear business, his brand skyrocketed due to his popular graphic T-shirts which featured his signature “S” logo. Streetwear clothing such as graphic T-shirts are a quintessential part of the culture, and good examples are brands such as Stüssy’s iconic signature graphic and Supreme’s logo (Block, 2017). 

Friedman (2022) argues streetwear has become fashion: “It's that those hoodies and sneakers and T-shirts have become so fully absorbed by the high fashion establishment that the line between streetwear and fashion has effectively disappeared. Streetwear has become fashion - or fashion has become streetwear.” Moreno (2021) terms the influence of streetwear on luxury fashion brands as “hypebeast” and argues that “the integration of streetwear into luxury fashion was a marketing ploy but in turn continues to raise the popularity of ‘traditional’ streetwear” (p. 4). 

The late creative visionary behind luxury streetwear brand Off-White and former artistic director of Louis Vuitton’s menswear, Virgil Abloh, is often credited with reshaping the luxury fashion scene by incorporating streetwear staples such as hoodies and T-shirts into couture collections (Randone, 2021). Because of the rise of brands like Off-White, streetwear has disrupted the lines between casual and high-end fashion (Liu, 2023). 

An example of a collaboration between a popular street style brand and a high-end fashion brand is the Fall 2017 menswear collection for Louis Vuitton x Supreme. Kim Jones, the artistic director for Louis Vuitton’s menswear at the time, said the collection “[was] inspired by the glory days of New York artists in the ‘70s, ‘80s, and 90s” (Mower, 2017). The collection featured long sweaters, loose trousers, and oversized silhouettes, with Louis Vuitton and Supreme logos featured on each look. While Jones introduced streetwear in his 2017 menswear collection, his successor Virgil Abloh brought streetwear elements to the forefront of his designs by incorporating bucket hats, sneakers, and leather harnesses, to further enhance the brand image of Louis Vuitton (Haywood, 2020). 

Chang et al. (2017) researched the iconic looks of different cities and found some cities—for example, Berlin, with darker and grungier styles, or Milan’s more vibrant colours—are distinguishable by their streetwear fashion; however, more multicultural cities such as Hong Kong and Istanbul are not necessarily distinguishable from others because of the lack of uniqueness of their fashion style. They found that colours are similar among cities that share similar latitudes, likely due to the climate of those areas, arguing “that street fashion is more representative of a human society than the catwalk fashion” (p. 98). They also noted that the presence of multi-location brands like H&M and Zara within various cities indicates the increasing globalization of fast fashion. Thus, not only does streetwear “bubble up” and influence larger fashion trends (Polhemus, 1994); it carries with it the cultural significance of the place where it originates. For this research, we argue that streetwear in Honolulu is imbued with significant meaning and styles unique to the Hawaiian Islands, including alohawear, a mix of ethnic influences, and styles originating in the agricultural plantations of the land. 

style in hawai’i

The majority of existing research on clothing in Hawai‘i is focused on alohawear, with researchers and scholars exploring the phenomenon’s history (Arthur 2000; Hope 2000), artistic elements (Brown & Arthur, 2002; Morgado, 2003), consumer aesthetic preferences (Reilly, 2024), political aspects (Morgado, in press), and ethnic influences (Arthur, 2006). 

The origin of the term “Hawaiian shirt" has no relationship to the Indigenous people of the islands but rather refers to the geographic location with which the garment is associated. In the 1920s, Asian immigrant tailors began to offer Western-cut shirts in an assortment of tropical patterns and Asian fabrics, and the popularity of innovation and alohawear expanded after WWII when Hawai‘i began to be marketed as an ideal tourist destination (Arthur, 2000; Hope, 2000). In addition to Hawaiian shirts, dresses became a staple of alohawear. The holokū dress was created at the request of Dowager Queen Kalākua when missionary women arrived on the islands in 1820 (Arthur, 2000). The missionary women modified the European corseted, fitted dress style to something looser and flowing to accommodate the generally larger bodies of Hawaiian women by eliminating the waistline and adding a yoke from which fabric hung, and eventually adding a train. Underneath the holokū, a slip known as the mu‘umu‘u was worn. By the 1930s, this slip had become a dress in its own right. The holomu‘u is a combination of the two; essentially, a fitted dress without a train, created by local fashion designers in 1947 (Arthur, 2000). 

Figure 1

Princess Ruth Keelikōlani (c. 1867-1875) wearing a holokū. The dress was based on the Mother Hubbard style of dress, popular at the time the Missionaries arrived in 1820. Image by Menzies Dickson, courtesy of Wikimedia Creative Commons PP-97-19-008. 

While alohawear might be Hawai‘i’s best-known aesthetic style, other apparel items have emerged from the multicultural population of Hawai‘i, including palaka (rice bag clothes) and geographically unique graphic T-shirts. Palaka is a check-patterned fabric worn by paniolo, or the cowboys of Hawai‘i, and has become a fashion statement in and of itself (Hope, 2000; Kawakami, 1995; Mendoza, 2023). Other clothes began as a necessity but has become a staple Hawaiian fashion item, made of vintage rice bags or new fabric that imitates the desired appearance of the rice bags (Mendoza, 2023). Kelly (2003) explored the types of T-shirts worn in Hawai‘i and identified four aesthetic categories—Local, Native Hawaiian, surfer, and tourist—and concluded that the T-shirts in question are “worn with intent, as symbols of identity and badges of belonging” (p. 19). Kelly noted that Local and Native Hawaiian people look for T-shirts that communicate cultural heritage, values, and political beliefs; surfers look for brand recognition; and tourists look for a souvenir. While alohawear is universally recognized and associated with tourism and the Hawaiian Islands, the emergence of streetwear in Hawai‘i, while still basing its aesthetic identity on the region’s rich cultural heritage, targeted residents as its key demographic. 

Moran et al. (2014) observed various garments found within Honolulu’s streetwear scene, including aloha attire, lei, and beachwear. They also noted that Hawai‘i’s multi-ethnic, multi-cultural history and population contribute to its unique fashion styles, with some even distinctive to particular neighbourhoods: 

The apparel items and means of decorating the body brought to the Islands have helped create aesthetic ensembles that are unique to Hawai‘i. Honolulu has a long history in the development of style trends and everyday apparel items that are so ubiquitous that today we easily take them for granted, including rubber sandals (slippers), boardshorts, the aloha shirt and the mu‘umu‘u. (Moran et al., 2014). 

In November 2022, In4mation, a popular streetwear brand based in Honolulu, celebrated their 20th anniversary with a dedicated collection that honoured the brand’s history and its influential role in shaping the local streetwear culture. According to Ryan Arakaki, Director of Operations, “Our roots are here in Hawai’i... We’re really a product of how far we’ve come. We’re humbled by all of the support” (Kelly, 2022, para. 3). 

Methods

The methodology of grounded theory (Glaser & Strauss, 1967) was implemented for this research. This method is used to generate a theory from qualitative data when there is little academic study of a topic. In grounded theory, the researchers do not hold preconceived notions and allow data to “rise from the ground” in order to develop new theories or frameworks. Grounded theory was chosen for this paper as there is little academic study of streetwear in Honolulu. This study employed open-question interviews with 12 participants, all of whom were recruited through personal networks, word-of-mouth, and the snowball method; a technique used in qualitative research to recruit participants with similar criteria through referrals from the initial sampling group (Goodman, 1961). Participants needed to be either consumers of streetwear in Honolulu or owners of streetwear brands in Honolulu. Both groups were asked how they define streetwear, their views on streetwear in Honolulu, and how it compares to streetwear in other places. Pseudonyms will be used for consumers, but consent was obtained to use the real names of the business owners and their businesses. A total of eight consumers were interviewed: 50% identified as female and 50% identified as male, with a median age of 27. A total of four business owners, all of whom identified as men, were interviewed. Interviews were conducted and recorded via Zoom. The recordings were then transcribed and analyzed using thematic coding to generate as many themes as possible from the collected data (Braun & Clarke, 2012; Saldaña, 2021; Thomas, 2003). Themes were generated without a predetermined theoretical framework in accordance with grounded theory methodology. Preliminary themes were generated as more interviews were transcribed. These themes were then edited and re-edited until data saturation was reached, and no new themes emerged from the interview transcripts. This method was approved by the authors’ university IRB. 

Streetwear brand participants

Figure 2 summarizes the characteristics of the streetwear brands in Hawai‘i. 

Figure 2

Detailed participant characteristics—Streetwear brand professionals. 

streetwear consumer participants

Figure 3 summarizes the demographic characteristics of streetwear consumer participants. 

Figure 3

Detailed participant characteristics — Streetwear consumers. 

Results and Discussion

Two themes were identified from the analysis: Hawai‘i Streetwear; and Where We are Placed—Hindered by Paradise. The two themes were narrowed down based on the contributing factors of Honolulu's streetwear identity and challenges. Although participants are all located in Honolulu, they see streetwear as something that unifies all of the Hawaiian Islands due to their shared overarching culture and history. It should also be noted that while Honolulu is technically the largest city in Hawai‘i, it is not uncommon to travel throughout the islands. 

THEME 1: HAWAI‘I STREETWEAR 

This theme establishes the streetwear aesthetics, fashion, and styles of Hawai‘i. Due to its geographic location, Honolulu streetwear is influenced by various cultures and their dress practices, most notably those from the U.S. West Coast and Japan. Surf, skate, and vintage aesthetics also contribute to the Honolulu Streetwear identity. Theme 1.1: Moke Streetwear—A New Street Style examines locally influenced street fashion. Theme 1.2: Surf Culture—A Staple of Streetwear examines how surf culture has heavily influenced the Honolulu streetwear identity. Theme 1-2: The Melting Pot of Streetwear examines how each of the following subcategories contribute to the identity of Honolulu streetwear: Theme 1-2.1: Vintage Streetwear; Theme 1-2.2: Breakdance Streetwear; Theme 1-2.3: Asian Influences; and Theme 1-2.4: Sneaker Culture Galore. 

THEME 1.1: MOKE STREETWEAR—A NEW STREETSTYLE 

The term Moke is a slang word used by kama‘āina (long-term residents of Hawai‘i regardless of ethnic or racial identity) and it is used to describe a set of certain personality traits within a group of Local people. According to an online dictionary of Pidgin English, the creole language of Hawai‘i, the term Moke is described as “an attitude or way of life where a hardcore, Local man often dresses in a T-shirt, surf shorts or slippers” (E-Hawaii, n.d.). To further expand on Moke streetwear, participant Mathieu shared his thoughts and observations: 

The whole Moke streetwear niche, I feel, is very real and an everyday kind of feel […] I see [Moke streetwear] as a place of culture. It comes from a place of inclusivity […] it’s more than just wearing BAPE […] wearing a DEFEND Hawai‘i T-shirt for example, tells everyone or shows everyone that you are a Local; a native [Hawaiian]. 

Mathieu noted that Moke culture is part of the people of Hawai‘i. 

A similar pattern is seen in the similar cases of streetwear on the East and West Coast, both heavily influenced by the local subcultures such as New York’s Hip Hop scene or California’s skating culture (DeLeon et al., 2018). Mathieu further emphasizes that Hawai‘i streetwear brands in general also support each other: “Besides, you know, showing off where you are from, I also think it’s a place of supporting the community or supporting small businesses. Brands like Naked Sushi, for example, I support them because I’m friends with the owners.” This sense of community is a driving factor in the economy of Hawai‘i; a survey from the Pacific Business News stated that “98% of Hawai‘i residents feel small business is important to Hawai‘i, with 88% responding that it is ‘very important’” (O’Connor, 2021). A sense of community is also part of the Moke lifestyle and thus Honolulu streetwear identity. 

To further emphasize the Moke sub-culture of streetwear, Arik, the founder of Harbors Vintage, shared his thoughts: 

There is that kind of street style, that Local braddah [(brother)] or Moke type of street style in Hawai‘i […] it’s definitely interesting and cool to have […] like the different subcultures we have [in Hawai‘i]. I think [Moke streetwear]’s cool to have and I feel like the people in Hawai‘i […] love to show or represent where they come from even if they move somewhere else like in the mainland, it says a lot. 

Here, Arik acknowledged the existence of the Moke streetwear subculture and its uniqueness to Hawai‘i. Arik further explored this subculture as a way for Locals to showcase pride in their culture, which aligns with what Mathieu stated about showcasing their culture: 

It is cool to see [Moke streetwear brands] become successful, like, it gives a little something to everyone, like […] Farmers Market Hawai‘i, right? They made those hats, and everyone wanted them! They had literal lines […] but yes, I think it’s cool to have those kind-of Local-braddah-Moke brands; it makes Hawai‘i unique in a way. 

The mentality of “buying local” is a big part of Hawaiian streetwear consumer culture—it gives the consumers a sense of belonging and accomplishment. To further emphasize Moke streetwear, we examined the stylistic characteristics. According to participant Augustus, he describes the style and general demographic of Moke streetwear as “someone who wears jeans or boardshorts, T-shirt, maybe a gold chain, Jordans, a shirt or even a hat probably from the same local brand.” Augustus broke down Moke street style based on his own personal experience with interacting and observing the people in his community who he identifies as Moke. The general style of Moke streetwear does somewhat align with the description found in the Pidgin dictionary. Furthermore, consumer participant Delila added to the style characteristics of Moke street style: 

When I think of Moke style, I think of what the kids in my high school wore back then. It was a lot of oversized shirts; like, their look is usually monochromatic, with a gold chain […] sports backpack, and maybe a Nike Air Force 1. 

Similarly to Augustus, Delila examined Moke streetstyle based on personal experiences, in this case those from her high school and surrounding neighbourhood. 

It is important to note that the styles described in these anecdotal descriptions do not constitute the overall identity of what Moke street style is; therefore, further research needs to be done. What is interesting is that Moke street styles that both Augustus and Delila describe share similarities with the more broadly recognized street styles of the West and East Coasts of the U.S.; notably, the presence of sneaker subculture, a major identifier in streetwear (DeLeon et al., 2018). 

To examine how well Moke streetwear brands are doing, Drew, owner and founder of local streetwear brand Sweet Enemy Clothing, stated: 

Those brands who are like this—Local Moke streetwear brands—are really killing it in the market. They locked down on their demographic, which, you know, is the majority of the island […] they will wear stuff that has, like, Hawaiian prints or something that is, like, Hawaiian-culture-esque inspired, and that is what makes them successful. 

Drew also noted that the general population of streetwear enthusiasts on the Islands only wear clothing that is simple; for example, locally inspired graphic T-shirts, making it unique to Hawai‘i. This correlates to the second key theme of geographic location, as the warm climate dictates prominent styles. Drew elaborated that for a local streetwear brand to be successful, they must target the right demographic and create a fan base. As the Moke streetstyle is a major contributor to the identity of Hawaiian streetwear, it follows to examine the cultural lifestyle of Moke subculture. In a case study by Meyerhoff (2004), the author examines the positive notions of the term Moke: “an easy-going laid-back Local who’s into Local culture” (Meyerhoff, 2004). The statement from Meyerhoff (2004) aligns with what Arik, founder of Harbors Vintage, and Mathieu stated about Moke streetwear being a representation of an individual’s local identity. 

THEME 1.2: SURF CULTURE – A STAPLE IDENTITY TO HAWAI‘I STREETWEAR 

The history and culture of surfing are heavily rooted in Hawaiian culture. Surfing has roots going back to ancient Hawai‘i, as ancient petroglyphs found in Hawai‘i Island and Lana‘i depict surfing, and the sport is thought to have been related to spiritual practice. Ancient surfboards are said to have been imbued with mana (spiritual power) through chants performed when carving the local trees into boards to glide across the waves (DeLaVega, 2011). It is also important to note that the Hawaiian language was not written down until the late 18th century when Westerners transcribed the oral language into English letters, so the present understanding of the importance of surfing to ancient Hawaiian culture is based largely on oral tradition and Western accounts of contact with Hawaiians. While it is understood that ancient Hawaiians originally surfed in the nude, it is alleged that boardshorts originated in Hawai‘i, with O‘ahu tailor Moru Ni‘i believed to have created the first boardshort (Mondy, 2023). Hawai‘i entrepreneur, Dave Rochlen, began manufacturing and selling brightly-coloured pajama-like shorts (e.g., jams) which became popular with surfers under the brand Surf Line Hawaii[5] (a.k.a., Jams Beachwear) (DeLaVega, 2011; DeLaVega, 2004; Hope, 2000). 

When discussing surfing culture as part of the identity of Hawai‘i streetwear, Mathieu stated: 

Hawai‘i streetwear is very much in its own bubble, or own unique style, and part of that is heavily influenced by, like, surf culture […] like, streetwear in terms of surf would look like […] an older uncle wearing, like, Jordans with cargo pants and a logo T-shirt […] that in itself is like streetwear […] it is almost, like, Hypebeast-y. 

Augustus also added his thoughts: “Surf culture is a very big part of streetwear, especially in Hawai‘i. You have brands like RVCA who blend in with both the skating and surfing culture […] it’s really cool.” Augustus further shared that having these different sub-cultures, such as skating, surfing, and breakdancing is what truly makes up the Hawai‘i streetwear identity. 

Similarly, the owners of local streetwear brands such as In4mation and Truest shared their thoughts on surf culture in Hawa‘i and how it contributes to the Hawai‘i streetwear identity. John stated: 

Streetwear and fashion are all about expressing yourself, right? A lot of surfers come to my store because they are very into sneakers […] and I think surf is just very much a part of streetwear, especially in Hawai‘i. 

Although surf culture originated in Hawai‘i, mainstream surfing culture and fashion was pioneered by Shawn Stüssy in the 1980s when he added his unique hand-written signature on T-shirts (Block, 2017). DeLeon, the former editor for Complex, a media and entertainment company that focuses on fashion, food, and pop culture, stated: “Stussy has outlasted numerous trends while birthing an industry of clothing brands that focus on limited runs, basic wardrobe staples […]” (2012). The description by Mathieu of the style characteristics of Hawai‘i surf culture aligns with the statement. To further emphasize, Ryan of In4mation states, “I think [Hawai‘i streetwear] definitely got its roots from surf and skate culture […] back in the day, right, streetwear was all about anti-establishment, meaning, like, misfits and what not […] the way you dress definitely sets you apart for a look and style of dressing.” 

According to Kelly (2021) of the lifestyle magazine Culted, “[Surfers’] easy-breezy attitudes towards life and lack of interest in ‘looking cool’ embodies the same anti-establishment attitude akin to the underground cultures of Punk-Rock music.” From this statement, we can infer that surf culture is akin to streetwear and, therefore, is a crucial element of the streetwear identity in Hawai‘i due to its representation of the population’s laid-back lifestyle. 

THEME 1-2: THE MELTING POT OF HAWAI‘I STREETWEAR – VINTAGE, SNEAKERS, ASIA, AND BREAKDANCE 

THEME 1-2.1: VINTAGE STREETWEAR 

Although Moke and surf culture are some of the main points of identity for streetwear in Honolulu, other components of streetwear culture, such as thrifting, sneakers, and breakdancing are also relevant to the Hawaiian streetwear identity. Augusts examined how vintage streetwear contributes to the identity: 

Everybody is into thrifting now and that is essentially part of streetwear; we have brands like Harbors Vintage which have these really cool vintage streetwear brands, like Supreme, BAPE […] and it goes hand in hand with the mentality of reduce, reuse, recycle […] people really love vintage clothing nowadays. 

Thrifting has become a huge movement within the last several years due to growing interests in sustainability, lower price points, and rarer fashion finds. According to Lifter (2019), thrifting has become a big part of the fashion industry, and companies such as Beyond Retro are “...scouring the millions of tonnes of waste produced in first-hand retail cycle and reproducing that product as a second-hand mode of engaging contemporary popular fashion” (p. 42). Participant Scarlet added, “I think people genuinely have an interest in thrifting or, like, vintage clothing […] people like going to Goodwill or other places like that to find nostalgic kind[s] of shirts and I think that is a big culture now and it’s, like, the style everyone is going into.” Augustus emphasized that vintage and thrifting culture has become a very big part of the identity of Hawai‘i streetwear mainly because of the exclusivity aspect that consumers or streetwear enthusiasts are attracted to. According to the Streetwear Impact Report by Hypebeast (2019), “…streetwear’s exclusivity is contingent on know-how… with early streetwear, very few consumers knew what to buy and even fewer knew where to buy it” (para. 4). 

THEME 1-2.2: BREAKDANCE STREETWEAR 

Derived from Hip Hop culture, the influence of breakdancing culture is a significant factor in Hawai‘i streetwear identity. In the early 1980s, Hawai‘i saw visits from big breakdancing crews (groups) such as the Rock Steady Crew, which established Hawai‘i as an early adopter of breakdancing culture. In 1984, local TV station KITV regularly broadcasted breakdancing videos, further promoting the culture within the community (Stinton, 2023). Augustus, who is a breakdancer, added his thoughts: 

Breakdancing culture is huge in Hawai‘i; a lot of people are into hip-hop which coincides with breakdancing, and not only that—there is a connection with [breakdancing and] other subcultures within streetwear, like skating, hip-hop, graffiti artists and whatnot. 

Although the stylistic choices are different from what DeLeon (2018) describes about breakdancers in New York, the aesthetics share some similarities, notably the popularity of sweatpants or joggers in Hawai‘i paralleling the prevalence of Adidas tracksuits in New York’s breakdance scene. Augusts continued, “I’m a dancer too, so you can either see us wearing sweatpants or joggers, sneakers of course, and some sort of graphic T-shirt… for girls, obviously, the same attire but with a bra, you know?” Both styles favour the athletic look and loose fit. 

THEME 1-2.3: ASIAN INFLUENCES 

Another prominent influence that was found to contribute to the streetwear identity in Hawai‘i is the Asian influence, most notably from Japan. The rich history of Japanese immigrants coming to Hawai‘i during the plantation era[6], as well as the region’s geographic proximity, shed light on this influence. Streetwear consumer Arthur explained: 

There are definitely influences from Japan, especially for me. I’m into Japanese Americana and like patchwork […] it is great to see deconstructed patchwork garments in streetwear and it’s much more prevalent now…but yes, my personal take is there are some influences of Japanese fashion culture in [Hawai‘i] streetwear. 

Arthur examined patchwork, a technical element of Japanese influence, as a major contributor to the Hawaiian streetwear identity. Artemis, another streetwear enthusiast, considered the Asian influence as more of a vibe or a feeling that goes into Hawaiian streetwear: 

Hawai‘i definitely has a plethora of influences; we have the Local kind of streetwear, right? And then we have, like, more of the artsy influences, and this is fueled by, like, an organic feel; very Japanese vibes, that kind of style. 

To further emphasize the Asian influences, John, founder of Truest, stated: 

If you actually look at where we are located, I’d say we have the best of both worlds. We have influences from the mainland, like, the West Coast, and influences from Asia, which is unique because I think the streetwear that we have in Hawai‘i is influenced by various places which makes us […] a mix of cultures. 

THEME 1-2:4 SNEAKER CULTURE GALORE 

Sneaker culture plays a significant role in streetwear, largely due to its association with athletes, musical artists, and celebrities. The term “sneakerheads” refers to individuals who are passionate collectors of sneakers, often driven by factors such as exclusivity, rarity, and nostalgia (Matthews et al., 2021). Matthews et al. (2021) stated, “Most sneakerheads credit the advent of the Sneakerhead subculture to the late 1970s/ early 1980s and the introduction to the Hip Hop era. During this time, footwear became synonymous with streetwear” (p. 2). This connection between sneakers and cultural movements like Hip Hop, for example, has solidified sneakers as a key sub-culture of streetwear. 

Sneaker culture plays a major factor in the Hawai‘i streetwear identity. John, the founder of a locally owned sneaker shop Truest, added his thoughts on this subculture: 

The presence of streetwear is definitely growing in Hawai‘i […] We have a lot of people who are into vintage fashion, and we have a lot of [streetwear labels in Hawai‘i] popping up […] there [are] also a lot of sneaker stores opening up as well, like myself […] our target demographic [is] sneakerheads, pretty much […] and people who are into streetwear know that sneakers [are] a huge part of that. 

The sneaker market has been steadily growing in Hawai‘i, with stores the likes of KICKS/HI, Truest, and In4mation, just to name a few. Coveteur Magazine dubbed Hawai‘i as one of the most underrated sneaker cities in the world (Lehava, 2016). Ryan, Director of Operations at In4mation, also added his thoughts on sneaker culture as a part of the Hawai‘i streetwear identity: 

I think the presence [of streetwear] is only getting bigger […] I think sneaker culture has helped shape the streetwear [in Hawai‘i] […] before social and digital media, right, getting your hands on a pair of sneakers [was] rare because of [how] limited it was and people want to show off their new kicks, so sneaker culture has rooted itself here. 

This statement also describes how streetwear has become a culture of exclusivity, and before the rise of social media, many consumers or sneakerheads searched for exclusive sneakers. Because of this, sneaker culture has contributed to the Hawai‘i streetwear identity. Arik, founder of Harbors Vintage, further emphasized that sneaker culture is a prominent force for Hawai‘i streetwear: “For streetwear in Hawai‘i, I feel like sneakers [have] always been a pretty big deal; stores like Truest right? Super big in the game, and yes, sneakers are definitely one of the original players in the game of streetwear, especially in Hawai‘i.” 

From the consumer point of view, sneaker culture is embodied in the individual's style. June, a streetwear consumer, explained how sneakers are incorporated into her style: 

What appeals to me most about streetwear is the practicality of it, but also the edginess. It makes sense that streetwear is basically everywhere; sneakers, for example, are super functional and you can wear anything with sneakers, like trousers and hoodies, and that would be streetwear. 

June reflected on how she incorporates sneakers into her overall style. Because of the functionality of sneakers, anything that is styled with them can be transformed into streetwear. Furthermore, Artemis added: 

I grew up with a lot of the local brands who were growing, like KICKS/HI and In4mation, and at the time, my friends and I were into sneakers, so having that type of streetwear, and like, sneaker culture has always been around me, and just pairing up, like, a shirt, leggings, and sneakers makes it easy to wear, and it’s always so fun, you know? 

Arthur viewed sneaker culture as a prevailing force in Hawai‘i as many consumers would emphasize their sneakers as the main focal point of their outfit. He stated: “Hawai‘i definitely has this ‘sneakerhead’ culture, and even if you just wear like basic shirts or outfits, pairing it with sneakers is something people [in Hawai‘i] often do and that’s because it really emphasizes the sneakers…so yeah, I think Hawai‘i has a lot of sneakerheads.” 

THEME 2: WHERE WE ARE PLACED—HINDERED BY PARADISE 

This theme considers how the geographic location of Hawai‘i may inform streetwear’s unique characteristics, as well as how it may hinder the growth and visibility of streetwear. This theme includes the sub-category Theme 2.1. Social Media for Hawai‘i Streetwear, which explores how social media can accelerate the streetwear industry in Hawaii. 

Participants addressed several factors, such as weather and location, and how they affect Hawai‘i streetwear and the overall dress practices on the Islands. Mathieu shared his thoughts on the matter: 

Streetwear in the mainland, say in New York, for example, when it hits below 60 degrees [Fahrenheit], [people] are able to layer streetwear pieces together, like jackets, coats, and all that, whereas [in Hawai‘i], it’s slightly harder to do because of the weather and the lack of seasons. 

Artemis also shared her thoughts on how the weather affects the Hawai‘i streetwear identity: “I think the weather has a lot to do with it too, right? Like, in Hawai‘i you really can’t wear coats and can’t really layer, but like, places like the West Coast, they have a little bit more of a leeway […] even in the East Coast, they’re able to dress it up a little bit more.” Similarly to Mathieu, Artemis also saw the climate as a hindering factor for the evolution of the Hawai‘i streetwear identity. 

Arthur also echoed this sentiment: “A lot of streetwear is all about work jackets, bombers, and stuff like that; layers, and we don’t really see that much [in Hawai‘i].” Jackets are often seen as a necessity for colder climates as they protect the individual from the cold weather and have become a fashion staple as a result. As expressed by Arthur, this mode of dressing is less accessible in Hawai‘i due to the consistently warm weather, leading to a scarcity of fashionable jackets both in the consumer market and on the streets. Scarlet pointed out that layering is seen as fashionable; however, the warmer climate makes it difficult for her to showcase her style: “I think where we live, too, also affects [Hawai‘i streetwear]. I feel like you really can’t be as fashionable, ‘cause for me, I’d love to layer, but, you know, I don’t want to be looked at weird 'cause I’m wearing a vest or something.” 

While there are some negative impacts on fashion due to the geographic location of Hawai‘i, there are still many positives. Although Mathieu noted above that the climate in Hawai‘i hinders the styling choices for streetwear, he offered a solution: “To tackle on this issue, I think brands, especially streetwear brands, have to think about using different materials or textiles […] the streetwear brands we have [in Hawai‘i]—they all have great prints and designs, but the majority of them use heavy cotton material […] I think if we focused on [the] material, I’d see Hawai‘i streetwear going even further.” Mathieu highlights an opportunity for Hawai‘i streetwear to evolve by labels employing lighter textiles or materials that would meet the unique needs of consumers in Hawai‘i. Lighter cottons or linen, for example, would greatly benefit Hawai‘i streetwear brands. 

As stated by John of Truest, Hawai‘i’s location can also be seen as a benefit for local streetwear brands as it holds influence from various cultures and other geographic locations due to the region’s cultural history, giving Hawai‘i a distinct, exclusive look. June described some ways the geographic location of Hawai‘i plays a favour in the Hawai‘i streetwear identity: 

If we are thinking about personal style or streetwear style, you also have to think of [the] location and how it influences streetwear here in Hawai‘i […] for example, we have influences like the Aloha shirt, or like, beachwear that is, like, tied in to like our urban style or street style, so I think you could definitely see, like, the influences, like, geographically. 

Augustus also shared his thoughts on the subject: “For streetwear, if we are talking about it as a culture, I’d like to think of it as where you grew up, the people around your community, because that has some sort of influence on streetwear fashion.” Aside from seeing the warm climate as a hindrance to Hawai‘i streetwear style, the consumers interviewed overall expressed that the cultural connection to location and the community within it influences Hawai‘i streetwear in a positive way. As DeLeon (2018) notes, different locations, such as California and New York, have their own streetwear identity—for example, as established, California streetwear encompasses skateboarding and surfing culture, whereas New York is influenced by the Hip Hop music scene. 

THEME 2-1: SOCIAL MEDIA FOR HAWAI‘I STREETWEAR 

This subcategory examines how social media can play a role in accelerating Hawai‘i streetwear brands in terms of growth and accessibility of streetwear items. Although Theme 2 shows that Hawai‘i’s geographic location has prevented the growth of its streetwear culture to a national or possibly a global scale, social media has served as a tool for Hawai‘i streetwear brands to grow their audiences and brand awareness. Artemis shared her thoughts on social media: “Instagram is a huge platform of, like, looking at who, what, where, and stuff like that […] [social media] has made it easier to access streetwear brands globally […] Instagram is a good way to get a brand out there.” From a consumer perspective, Artemis stated that social media has made it easier for consumers like herself to find streetwear brands from a local to a global scale. Companies like Truest can also grow by taking advantage of social media, as John stated: “I think in terms of just thinking locally, Hawai‘i streetwear is thriving and it’s all thanks to social media […] social media has made streetwear bigger in terms of just marketing the products and your brand, you know?” In the case of Truest, social media platforms have given way for their streetwear brand to become bigger in Hawai‘i due to social media’s marketing capabilities. While Truest has not provided specific data on its social media growth, we can reference a study by Chinen-Moore (2020) that examines small business growth through social media marketing strategies. The study, which includes interviews with six small business owners, identifies key strategies such as evaluating platform efficacy, overcoming perceived barriers to social media adoption, and leveraging digital tools for direct consumer engagement. Drew of Sweet Enemy Co. also expressed his thoughts: “I feel like a lot of people start their brand by using social media in any way, shape, or form, and it’s become this driving force for them.” Sweet Enemy Co. also sees social media as a pillar of growth for its brand. Although there is limited research on how social media benefits small local businesses in Hawai‘i specifically, Oandasan (2022) examined how local fashion brands in Hawai‘i use Instagram and its effect on consumer buying behavior, specifically concerning visual aesthetics. The study found that “authentic aesthetics”—a type of visual aesthetics that drives consumer engagement by using real people to model and curate relatable content—plays a key role in sustaining local fashion brands. 

Research that examines the broader impact social media has on small businesses is much richer (Chambers, 2021). There are several key opportunities offered by social media businesses, including improved communication between consumers and businesses and enhanced advertising and marketing efforts (Shabbir et al., 2016). Additionally, social media can also enhance a business' brand awareness, customer retention and recruitment, and the ability to reach more consumers on a global scale (Jones et al., 2015). Through the grounded theory methodology employed in this paper, these effects are echoed by participants and thus prove that social media is advantageous for the growth of Hawaiian streetwear brands. 

Conclusion

This research provides a useful generic framework for exploring streetwear in Hawai‘i but should be read in light of its limitations. Interviews provided depth of understanding but did not provide breadth. Additionally, all interviewees were from Honolulu. Future research can focus on areas outside of Honolulu, especially on other islands in the Hawaiian archipelago. Each island is known to have a different cultural feel to it, and it is likely that these elements influence individuality among streetwear aesthetics. Nonetheless, this research moves the discussion of clothing in Hawai‘i beyond alohawear (e.g., Arthur, 2000, 2006; Mordago, 2003, in press; Reilly 2024). While alohawear, and especially the Hawaiian shirt, have had a critical role in the local economy and have influenced fashion trends globally, attention needs to be paid to other market segments and styles of dress found in the Hawaiian Islands. 

As a mode of fashion, streetwear is a means of expressing individuality and one’s upbringing; however, as minimal academic attention has been given to streetwear in Hawai‘i, this study sought to uncover the streetwear fashion, culture, and style that is authentic to Honolulu. Using grounded theory, several influences of the uniqueness of the city’s style emerged. Streetwear in Honolulu combines aspects of traditional streetwear (e.g., surf and Hip Hop aesthetics and sneakers) and elements specific to the Hawaiian Islands (e.g., multicultural/multi-ethnic influences and its tropical climate). Surf culture is undoubtedly and not surprisingly an important part of streetwear in Hawai‘i. This research found new iterations of streetwear where Local identity influences these components. Japanese immigrants were among the earliest contract labourers brought to the Hawaiian Islands and thus greatly influenced Local culture. Additionally, this research contradicts prior research that found that alohawear is used to claim this identity by noting Moke streetwear styles are in fact used in this manner (Reilly 2024). As the interviewees relayed, this cultural aesthetic of Moke is unique to Hawai‘i, allowing the Local people to proudly announce their identity. 

This research also notes how the climate affects streetwear in a given region. In the tropical climate of Hawai‘i, layering or donning coats and jackets is not comfortable, so brands focus on design, graphics, and textiles of climate-appropriate garments and accessories to provide aesthetic appeal as well as physical comfort. The research showed that this hinders the growth of streetwear fashions and styles in Hawai‘i. This paper also found that social media plays an accelerating role in the growth of streetwear brands both in Hawai‘i and across the globe as consumers and local businesses can leverage various platforms to grow and seek out other streetwear fashion styles and incorporate them into their own. 

Just like streetwear in the U.S. East Coast, West Coast, and abroad, whose identities are uniquely their own by a melting pot of different cultures and fashions, Hawai‘i has developed its own sense of streetwear fashion, culture, and style that deserves broader recognition in both fashion and academic fields. 

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Author Bios

Article Citation

Oandasan, Mark, and Andy Reilly. “Honolulu Streetwear: A Look into Aesthetics, Style, and Culture.” Fashion Studies, vol. 5, no. 2, 2025, 1-29. X