A new exhibition is looking at the suave, camp and gloriously stylish world of the black male dandy. These dandies dress to flip conventional notions of class, taste, gender and sexuality.
Afrikan Boy (2012) by Hassan Hajjaj —
A new exhibition is looking at the suave, camp and gloriously stylish world of the black male dandy. These dandies dress to flip conventional notions of class, taste, gender and sexuality.
Courtesy Hassan Hajjaj
Black men have become influential trendsetters in fashion, music and culture, say the exhibit curators. But, says the curators, with visibility becomes vulnerability.
Young Man In Plaid, NYC (1991) by Jeffrey Henson-Scales —
Black men have become influential trendsetters in fashion, music and culture, say the exhibit curators. But, says the curators, with visibility becomes vulnerability.
Courtesy Jeffrey Henson-Scales
Black male dandyism against this background is compelling, argues exhibition curator Ekow Eshun. "It's quite striking that these men are making a conscious choice to be visible in this way. <br />
The Black House (1973-1976) by Colin Jones —
Black male dandyism against this background is compelling, argues exhibition curator Ekow Eshun. "It's quite striking that these men are making a conscious choice to be visible in this way.
Courtesy of Autograph ABP
He sees dandyism as a means of fighting stereotypes of black masculinity. "It's opening up a debate about how black men can represent themselves."
The Black House (1973-1976) by Colin Jones —
He sees dandyism as a means of fighting stereotypes of black masculinity. "It's opening up a debate about how black men can represent themselves."
Courtesy of Autograph ABP
Eshun acknowledges that dandyism itself is superficial, but insists that the concept, when applied in racial terms, isn't just about style and clothing but transcends into politics. Many of the men are not dressed extravagantly, but it's about "shaping your identity on your own terms." <br />
Dapper Senegalese victorians circa 1904 —
Eshun acknowledges that dandyism itself is superficial, but insists that the concept, when applied in racial terms, isn't just about style and clothing but transcends into politics. Many of the men are not dressed extravagantly, but it's about "shaping your identity on your own terms."
Courtesy The Larry Dunstan Archive
Born in Cameroon, Samuel Fosso grew up in Nigeria, but fled from the Biafran war to Bangui, Central African Republic and set up his own studio at the early age of 13. At night, after he'd closed for business, Fosso would pose in tight shirts, short pants, and platform heels -- items of clothing banned under CAR's dictatorship.
Self Portrait from '70's Lifestyle' (1973 --1977) by Samuel Fosso —
Born in Cameroon, Samuel Fosso grew up in Nigeria, but fled from the Biafran war to Bangui, Central African Republic and set up his own studio at the early age of 13. At night, after he'd closed for business, Fosso would pose in tight shirts, short pants, and platform heels -- items of clothing banned under CAR's dictatorship.
Courtesy J.M. Patras/Deutsche Bank Art Collection
The late Malick Sidibé captured the vibrancy and confidence of Mali's youths after the country's independence in 1960.
On The Motorbike In My Studio (1973) by Malick Sidibé —
The late Malick Sidibé captured the vibrancy and confidence of Mali's youths after the country's independence in 1960.
Courtesy CAAC --The Pigozzi Collection, Geneva
South African photographer Kristin-Lee Moolmann captures the androgynous style of townships in Soweto in the 80s and 90s. With tight flairs and chokers, these men unapologetically blur the lines between masculine and feminine.
Wayne Swart, from the OATH lookbook (2015) by Kristin-Lee Moolman —
South African photographer Kristin-Lee Moolmann captures the androgynous style of townships in Soweto in the 80s and 90s. With tight flairs and chokers, these men unapologetically blur the lines between masculine and feminine.
Courtesy Kristin-Lee Moolman
Russian-Ghanaian photographer Liz Johnson Atur documents black subcultures globally, from the British grime scene to Jamaica's reggae dancehalls, as well as the sartorial elegance of Congo's sapeurs.
Untitled, Kingston, from the Black Balloon Archive (2007) by Liz Johnson-Artur —
Russian-Ghanaian photographer Liz Johnson Atur documents black subcultures globally, from the British grime scene to Jamaica's reggae dancehalls, as well as the sartorial elegance of Congo's sapeurs.
Courtesy Liz Johnson-Artur
"The black dandy is someone who has a big character, who is quite flamboyant. It takes a very special person to dress up like that," says Hassan Hajjaj who was born in Morocco but moved to the United Kingdom when he was 13.
Joe Casely-Hayford (2012) by Hassan Hajjaj —
"The black dandy is someone who has a big character, who is quite flamboyant. It takes a very special person to dress up like that," says Hassan Hajjaj who was born in Morocco but moved to the United Kingdom when he was 13.
Courtesy Hassan Hajjaj
Fashion designer Joe Casely-Hayford wears a suit made of canopy fabric, commonly used for little shops in Moroccan medinas. "Joe is a famous British fashion designer so it fitted very well in the context of the exhibition," says Hajjaj. Although they appear as studio portraits, most of Hassan Hajjaj's images are taken on the streets.
Joe Casely-Hayford (2012) by Hassan Hajjaj —
Fashion designer Joe Casely-Hayford wears a suit made of canopy fabric, commonly used for little shops in Moroccan medinas. "Joe is a famous British fashion designer so it fitted very well in the context of the exhibition," says Hajjaj. Although they appear as studio portraits, most of Hassan Hajjaj's images are taken on the streets.
Courtesy Hassan Hajjaj