There is a kind of street culture related to block party culture, showing up in the 1970s in the Bronx of New York, which is the hip-hop. In a narrow scense, hip-hop refers to rap, but it can be also broadly defined as hip-hop culture, with elements such as rap, b-boying, and garfti prevailing in the 1980s to the 1990s. Under this culture trend, gafiti elements, dark style, over size and other fashion characters emerge gradually, which faciliates the devclopment of leading brands of street culture, such as Supreme (1994), Stussy (1980), etc. in European and American fashion circle. On the other hand, Matermind JAPAN (1997), Roar (2001) and Roen, the top-three dark style brands of Japan, and other streetwear brands such as Neighborhood (1994), A Bathing Ape (1993),Evisu (1991), etc. rise in response to the proper time and conditions and directly stimulate the trend and fashion design of China.When the influence of Japanese streetwear began to decline after 2000, those fashion brands from the USA made a comeback with the hip- bop. Under such infuence, the emergence of domcstic Clot (2003), Hi Panda (2010), NPC (2009), etc. and the sccessful transformation of old brands, like LiNing, lead the trend of“National Tide'”. These designs not only express the spirit of hip-hop culture, but also embody traditional Chinese culture. Thus, those streetwear brands which have always been marginalized get a new lease of life. Based on the objective perspective of design aesthetics and design citicism, the work ains t explore the expression of hip-hop spirit and popular culture in the design of sretwear brands, and to reveal the acsthetic trends and fashion spinit of "National Tde" .