Black Men and Dandyism: Art, Fashion, Literature and Exhibitions

"Dandy is defined as "A man who affects extreme elegance in clothes and manners", recently Dandy/Dandyism culture has been in the news and exhibitions. I have to also admit that it has been the style of choice for the men in my works of art. Although my work tackles topics of historic narratives to contemporary issues, a well dressed man is how I choose to tell the stories of American History from my African Americans perspective." - Najee Dorsey

 

Why Black Men Tend To Be Fashion Kings

December 31, 201211:48 AM

For many, style is much deeper than articles of clothing; it's a statement of identity. Black men have a unique relationship with fashion, one that can be traced all the way back to the 17th and 18th centuries.

Professor Monica L. Miller, author of Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity, talked with Tell Me More's Michel Martin about the past, present and future of black men's fashion.

She explained that African American men have used style as a way to challenge stereotypes about who they are. "Sometimes the well-dressed black man coming down the street is asking you to look and think."

Victor Holliday, Associate Producer of On-Air Fundraising at NPR and one of the resident kings of style, tells Michel Martin that he learned about the importance of fashion at an early age. "When I was five years old, I knew exactly how I was going to look," he says. "And that was the year I got my first trench coat and my top hat."

Holliday's style icon is his father, who taught him that the main object of dressing up was winning respect. "Because as you present yourself seriously, people tend to take you seriously."

Holliday is one of the men featured in Tell Me More's "Kings of Style" slideshow.

 

In South AfricaSwenkas are working-class Zulu men who participate in amateur competitions that are part fashion show and part choreography, the purpose of which is to display one's style and sense of attitude.[1] The practice, called "swenking", ultimately derives from the English word "swank".[2]

These well-dressed men are proud and considered to serve as an inspiration to others. Frequently, on Saturday nights they meet up to compete in a fashion show of sorts. The Swenkas are judged both on what they are wearing (typically, expensive designer suits with well known European names on their labels) and their choreographed movements (their 'swank').[3] There is an entrance fee to compete in these swank-offs and the winner of the night goes home with a portion of the money collected from the competitors. The men follow certain set values of swanking, such as physical cleanliness, sobriety and above all self-respect. In 2004, Danish filmmaker Jeppe Rønde created The Swenkas, a documentary about the group.[1]

 

AFTER THE BALL: DANDY WELLINGTON AND RAQUEL REED

Posted on | November 29, 2012 | No Comments

Dandy WellingtonThe clock strikes twelve and the curtain closes on an evening of Jazz and Burlesque at Macao Trading Company. Crowds of well dressed revelers thin and disappear into the night  leaving a few late night stragglers to nurse their cocktails or savor that final bite of cake. A bandleader and burlesque beauty seek solitude amidst the dimming lights and fading footsteps. Their figures illuminated by the votives, a photographer captures them in repose. – Dandy Wellington. @dandywellington

 

 

Slaves to Fashion

Book Description

October 8, 2009  0822346036  978-0822346036

Slaves to Fashion is a pioneering cultural history of the black dandy, from his emergence in Enlightenment England to his contemporary incarnations in the cosmopolitan art worlds of London and New York. It is populated by sartorial impresarios such as Julius Soubise, a freed slave who sometimes wore diamond-buckled, red-heeled shoes as he circulated through the social scene of eighteenth-century London, and Yinka Shonibare, a prominent Afro-British artist who not only styles himself as a fop but also creates ironic commentaries on black dandyism in his work. Interpreting performances and representations of black dandyism in particular cultural settings and literary and visual texts, Monica L. Miller emphasizes the importance of sartorial style to black identity formation in the Atlantic diaspora.

 

Dandyism was initially imposed on black men in eighteenth-century England, as the Atlantic slave trade and an emerging culture of conspicuous consumption generated a vogue in dandified black servants. “Luxury slaves” tweaked and reworked their uniforms, and were soon known for their sartorial novelty and sometimes flamboyant personalities. Tracing the history of the black dandy forward to contemporary celebrity incarnations such as Andre 3000 and Sean Combs, Miller explains how black people became arbiters of style and how they have historically used the dandy’s signature tools—clothing, gesture, and wit—to break down limiting identity markers and propose new ways of fashioning political and social possibility in the black Atlantic world. With an aplomb worthy of her iconographic subject, she considers the black dandy in relation to nineteenth-century American literature and drama, W. E. B. Du Bois’s reflections on black masculinity and cultural nationalism, the modernist aesthetics of the Harlem Renaissance, and representations of black cosmopolitanism in contemporary visual art.

Posted at 12:27 PM ET, 02/02/2012

 

 

Black Men: Dandyism, masculinity and homophobia

Gone are the days where young black men are bound to a uniform of sorts: baggy jeans, white t-shirts and fitted baseball caps. Or that’s the hope of Shantrelle P. Lewis, curator for the exhibit ‘Dandy Lion: Articulating a Re(de)fined Black Masculine Identity.’

The exhibition debuted at Society HAE in Harlem a year and a half ago and has traveled to Amsterdam, the Museum of Contemporary African Diasporan Art in Brooklyn and to Aljira, A Center for Contemporary Art in Newark. It opened in Baltimore on January 29 at the Reginald F. Lewis museum. It runs through May 13.

It is made up primarily of photos and features 20 different photographers and filmmakers.

 

 

The exhibit centers around young black men combining urban style with dandyism, a distinct style that developed during the 18th century in London centered around lace ruffles, embroidery, top hats and decorated footwear. More and more fashion blogs like Street Etiquettehave brought a sartorial style exclusively for young, black men to the forefront. Lewis spoke with The RootDC about the importance of this exhibit.

Q: What is a dandy lion?

A: A dandy lion is a contemporary expression of black dandyism. It’s a new statement on black masculinity within a contemporary context. He is a man of elegance, an individual who remixes a Victorian era fashion and aesthetic with traditional African sensibilities and swagger.

Q:Why is this important to bring to people’s attention?

A: Especially for young people, we are bombarded with this one sided, monolithic image of what it means to be black and male, primarily around the United States and actually even around the globe. The image is a negative one, images of black men are not reaffirming and not positive. There are institutions who are committed and invested in perpetuated that negative image. This is especially true for a young man who may not have access to a variety of expressions of black masculinity.

You don’t have to be thug or an athlete or dress like everyone else with the sagging pants, exposed boxers and oversized white tees to be a man. Express creativity and individuality. That’s what dandy lions seek to express, especially to a young generation that’s also paying tribute to the older generation. Respectability was a way of life.

Q: Why curate this exhibit now?

A: If you look at the trajectory over the past few years, the recognition of black dandyism seems overnight, but there’s been a lot of interest in dandyism since the 18th century. It’s not anything new. But there has been an increasingly popular trend as more people wear more vintage clothes, dress really well and want to spend less money because of the economy. Younger men who are opting out of the traditional form of hip-hop fashion are creating a new expression of hip-hop aesthetic. For example, wearing shell toe adidas with a bowtie.

Q: What has been the reactions to creating this exhibition?

A:Young photographers were, at first, somewhat challenged on the idea of focusing on dandies. The African-American community at times can be very homophobic, many people attribute dandyism with sexuality and homosexuality. Just because someone dresses well doesn’t mean they are gay, and just because someone is gay doesn’t mean they dress well.

The exhibition seeks to confront that homophobia. All it takes sometimes is exposure to an idea to be picked up and embraced by young people.

Since the exhibition was inititally installed, there have been more conversations in the press and in films to a subculture that’s existed. It’s started to get more attention.

Read more on The Root DC

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Comment by Black Art In America on January 15, 2014 at 10:22pm

Ad of the Day: Congo's Sapeurs Star in the Best-Dressed Guinness Commercial Ever

Central African elegance 

"You can always choose who you are."

When global marketers portray Africa, the goal is usually humor or pity. Rarely do brands treat Africans as cultural equals, much less as inspirational role models. Breaking that trend is one of several reasons to admire "Sapeurs," the newest "Made of More" ad from Guinness and London agency AMV BBDO.

The spot shines a light on the Society of Elegant Persons of the Congo, better known as the Sapeurs. This impeccably stylish club, made up of blue-collar workers who dedicate their off time to colorful fashion and effortless savoir faire, has drawn international attention in recent years as a bellwether of peacetime optimism and confidence in the Republic of the Congo.

In the spot, we see real-life Sapeurs ending a day of hard work and transforming themselves into vibrant icons of the local nightlife. Though the ad was filmed in South Africa with the involvement of professional stylists, it's clear from the related behind-the-scenes video that the spot captures a vignette that's true to life.

"They have a simple philosophy: to defy circumstance and live with joie de vivre," explains the narrator in Guinness's "Sapeurs: a Short Documentary."

The ad itself succeeds on many levels, perhaps most of all by capturing the Sapeurs' commitment to personal style and expression rather than portraying their club as some hedonistic celebration of overpriced opulence.

"These well-dressed gentlemen aren't African big men slapping each other on the back to celebrate just-consummated deals," the Wall Street Journal wrote back in 2011. "They're Congolese everymen—taxi drivers, carpenters, gravediggers—assembled here on this sunny Sunday afternoon because they're what locals call Sapeurs, men who believe in the uplifting, redeeming, beatifying effect of dressing well."

CREDITS
Client: Guinness
Marketing Director for Guinness (Western Europe) at Diageo: Stephen O'Kelly:
Creative Agency: AMV BBDO, London
Executive Creative Director: Dave Buchanan
Copywriter: Nicholas Hulley
Art Director: Nadja Lossgott
Agency Planner: Tom White, Steve Hopkins, Rory Gallery
Agency Account Management Team: Michael Pring, Tom Bedwell, Amber Glenister, Laura Balfour, Giulia Watson, Oliver Short
Senior Producer, TV Commercial: Sara Flood
Senior Producer, Documentary: Yvonne Clayton
Production Assistant: Jessica Tranfield
Media Agency: Carat
Media Planner: Matthew Jacobs (Associate Director), Chris Kelly (Comms Planning Manager) Production Company, TV Commercial: MJZ
Production Company, Documentary: Stillking
Director, TV Commercial: Nicolai Fuglsig 
Director, Documentary: Hector Mediavilla
Production Co. Producer, TV Commercial: Suza Horvat at MJZ
Editor, TV Commercial: Rick Russell at Final Cut
Editor, Documentary: Russ Clapham
Post-production Company: The Mill Audio
Post-production: Wave
Offline Editing Company: Final Cut
Soundtrack, TV commercial: "What Makes a Good Man" by The Heavy

Comment by Black Art In America on January 2, 2013 at 3:42pm

Comment by Clark D Baker III on January 2, 2013 at 1:29pm

Very good combination of present and historical facts......Definitely will purchase the book  ;-)

Comment by Black Art In America on January 2, 2013 at 8:39am

Amira Makee here is the link for purchasing at Amazon , http://www.amazon.com/Slaves-Fashion-Dandyism-Diasporic-Identity/dp...

Comment by Amira - Makee on January 2, 2013 at 2:09am

A friend and I were just talking about this thing called fashion and where has it gone with our youth today.I have to get this book. Is it downloadable?

Comment by Perrion Hurd on January 1, 2013 at 8:04pm

Very good read. Thank you for this.

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