Arise Fashion Week

Pillbox hats are back! What else, besides a nouvelle variation of the old-school “Turkish” headgear, is in style at Arise Magazine’s 2012 fashion week in Lagos? After a drive through Victoria Island to get there, passing massive signs advertising “JESUS”, golden highrises and tattler headlines blaring “BOKO HARAM’S PLOT TO ATTACK SOUTH UNCOVERED,” we’re treated to waterfalls of fabric accentuating the lively flows of a woman’s walk, necklines wider (and going deeper) than a duck’s wake, and enough flash to invite comments about how ‘colorful’ Africans can be. Even from a distance, we can see the cut and construction is far superior to anything Gwen Stefani might attempt with “African” fabric. Here’s hoping that one day, AIAC is invited to the front row!

Shameless Self-Promotion


An essay I wrote for AIAC on David Goldblatt at the Jewish Museum in Manhattan (2010) is in the latest edition of SAVVY, a Journal for Critical Texts on Contemporary African Art based in Berlin. The 3rd edition of SAVVY is devoted to looking at the “The fire behind the smoke called political art”: that is, the relationship between art and politics, and whether the two are an “inseparable couple”; it’s edited by Bonaventure Soh Bejeng Ndikung and Andrea Heister. Some great essays in there.

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Lucy Liu’s Safari


At the moment when Africa is once again reduced to a cesspool of panga-slashing child soldiers and the abode of the world’s most dangerous man, a vanity piece on where Lucy Liu goes when she wants to get away (safari) is harmless enough.

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The Little Book of Terror


It was Daisy Rockwell’s “New Hat,” a painting of Nigerian “underwear bomber” Umar Farouk Abdulmutallab that caught my eye. In her portrait, the young Umar tries on a new black woollen cap, one with the Nike swoosh jauntily embroidered to the front, while on a school trip to London. His fingers are engaged in the action of pulling down the sides of the cap over his ears; the collar of his warm jacket is upturned against the autumnal chill. Around him, the Indian colours of fading summer—golden yellow, burning orange—halo the darkness encasing Umar’s figure. His eyes have that reticent inwardness already. It is that same immobilising sadness we came to recognise in his terrorist mugshot, after he was accused of attempting to blow up a Detroit-bound aeroplane in mid-flight, with explosives hidden in his underwear.

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Cape Town Leather


The Rupert clan of South Africa owns a few businesses that make a lot of money: Cartier, Dunhill, Montblanc and Piaget, etcetera. Their fortunes began with Anthony Edward Rupert, who could not finish medical school “due to lack of funds,” but thanks to apartheid magic (and business smarts) he began manufacturing cigarettes in his garage. He eventually built this into the tobacco industrial conglomerate The Rembrandt Group, which made him a billionaire. In the late ’60s (think the time of the Rivonia Trials), a scion of the family purchased the L’Ormarins wine estate in Franschhoek in the then Cape province. The family’s fortunes continued, with the addition of another wine estate, La Motte. One could say that Franschhoek’s current stature is probably owed in large part to the efforts of the Ruperts to promote the district as a little corner of France, replete with cheeses, fruits, herbs, mushrooms, nuts, olives, coupled with the exotic appeal of the bush: ostrich and crocodile steaks. Of course, there’s also the poorly paid coloured labour, but that’s not in brochures intended to lure visitors.

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A Cappella Slaves


Ever seen a poster for a touring boys’ choir from Zambia? The adverts show a collection of cute young boys, grinning from ear to ear. Just in case American audiences wouldn’t recognise that they are from Lion King Land, the boys are encased in some sort of oversized cheetah-print robes and positioned among some tall grass. Well, each of them were enslaved.

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Zambia’s Turn


As someone who grew up in the leafy suburbs next to the Kafue River, I’m no longer surprised when reporters and tourists exclaim about the tranquility to be found “inside the Real Africa”—with no irony whatsoever.

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Michael Kors’s Safari: Part 2


Lord, these fashion designers and their obsession with the safari motif.

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The excitement about ‘African fabric’

The Dutch fabrics manufacturing company Vlisco–the image is from the company’s new line “Delicate Shades“–says its “strategy is aimed at enabling well-to-do African women to experience the brand in all her facets … Developments take place at neck-breaking speed in Africa and Vlisco aspires to inspire and gain the loyalty of younger generations as well. Innovation is therefore an essential element within the company.”

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The Real Housewives of Atlanta Go To Africa


It’s too bad that America sees Atlanta, black women, and maybe even women in general through the lens of The ‘Real Housewives’ franchise. When the first episodes of Atlanta aired, my upstate New York hairstylist gasped and gawped about the wealth and glam. To paraphrase her: Oh, the hair! the really short dresses! (and the token white girl!) I had to reply, with that special brand of irony that educators cultivate: “Lovey, I think you’ve probably never seen rich black women before.” So I did my part to defend the Atlanta women.

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