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Le Brun’s 1783 portrait of the queen, and Balenciaga’sintegration of aprons in his haute couture designsduring the fifties. Fueled by globalization, technologicalinnovation, and wars, American streetwear’s predecessor sportswear emerged during the late nineteenth century/early twentieth century as casual dress,like the shirtwaist and activewear that provided alternatives to the contemporary high style of the late Victorianand Edwardian periods. The breakdown of traditionalsociocultural divisions resulting from the youthquake,the women’s movement, and the civil rights era accelerated the industry’s embrace of a more casual style and,in some cases, antifashion within these communities.Eventually, boundary-breaking baby boomers adaptedactivewear, workwear, and military uniforms into theirwardrobes. They took these elements of dress outside oftheir original contexts, subverted them into quotidianstyle, and ultimately changed their meaning.4## “Streetwear, as molded byLike countercultural youths in the sixties, seventies, andeighties, Smith welcomed nonconformity, but was also a garmento who cut his teeth on Seventh Avenue. Afterleaving Parsons, he landed his first major job at agetwenty designing for Glenora, then sportswear brandDigits, where he led the label until 1973. When he formedWilliWear in 1976, Smith was settling in as part of thefashion establishment alongside designers like Halston,Perry Ellis, Anne Klein, and Giorgio Armani.Smith’s take on streetwear was an eclectic yet irreverenttwist on sportswear that elicited various identities frompreppy silhouettes to billowing ensembles inspired byhis passion for Indian and West African cultures. Forexample, his fall 1985 collection featured a plethora ofthemes, including colorful women’s suiting styled totransform the models into Spanish matadors juxtaposedagainst tapered plaid ensembles that emulated preppy