A Matter of Style

by Patty Chang

image0031.png
A still from the documentary showing Papa Wemba playing a concert in Paris (Courtesy of NYAFF)

Among the noteworthy films featured this year at the New York African Film Festival at Lincoln Center was George Amponsah and Cosima Spender’s documentary, The Importance of Being Elegant, which examines the Congolese subculture centered around the worship of clothes (kitende) known as la Société des ambianceurs et personnes élégantes (the Society of Revelers and Elegant People), or in short, la Sape. The film follows internationally renowned Congolese soukous musician, Papa Wemba (né Jules Shungu Wembadio Pene Kikumba) and his coterie of expatriate Congolese supporters in Paris and Brussels shortly after his release on bail in 2003 on charges of importing 350 illegal immigrants (at a little over US$4000 per person) to pose as members of his band. Beset with legal fees and an impending criminal trial, Papa Wemba records a new album and prepares to launch an extravagant concert in Paris to try to piece his life back together and uphold his central position in the expatriate Congolese community. In the meantime, young immigrant Congolese in Paris and Brussels who embrace the sapeur lifestyle, ‘battle’ each other for the title of “Parisien”—the equivalent of an exceedingly stylish man—by flashing their labels in ritual dances in night clubs and mounting challenges through preening displays of label versus label. They also pay an exorbitant price for a “dedication” or the singing of their names by Wemba into his new album.
beingelegant-papawemba.jpg
Still showing Papa Wemba and his Cavalli fur coat (courtesy of NYAFF)

As the quintessential king of the sapeurs, Papa Wemba found commercial success in the 1970s through the innovative style of fusing traditional Congolese rumba with Western pop and rock influences. His new found critical acclaim became his ticket out of his native Zaire. Along with a number of other Lingala musical superstars, Papa Wemba started a new life abroad in Paris, touring Japan and the US via Europe with Peter Gabriel, and returning home to Kinshasa occasionally to perform for his doting fans. Dressed in expensive designer labels, Papa Wemba elevated style to a form of religion, replete with high priests, archbishops, popes, and even saints (in this case, Cavalli, Versace, Gautier, Burberry, Comme de Garçons, Yamamoto, Miyake, and Watanabe). His worship of designer labels (or griffes) and the musical lyrics which praise them, entice impoverished Congolese young men to take the oneiric pilgrimage to France and Belgium to acquire designer clothes, and eventually to return home with the hopes of an improved social standing. The turbulent political and socio-economic history of the Democratic Republic of the Congo with its widespread poverty and 5.4 million excess deaths from the Second Congo War, sets a brutally sardonic backdrop for these young men who desire to escape from the harsh realities of Kinshasa only to end up enduring an increasingly harsh existence when they reach the streets of Château Rouge in Paris or the district of Ixelles in Brussels. Often without the legal documents to stay in the country, the sapeurs beg, steal, and hustle (although the specifics of these illicit activities remain ambiguous in the film) for money to be able to afford the designer clothes to keep up with Papa Wemba’s fashion ideology. In the documentary, one such sapeur named the “Archbishop” attempts to establish a name for himself in the Parisian Sape scene only to later come to the realization that the extravagant and flamboyant lifestyle has been nothing more than an illusion.

Watching this documentary, it’s unavoidable to draw parallels to the image of ‘bling-bling’ culture propagated by new school hip hop. The projection of cool by emulating the conspicuous consumption of elites, and the impersonation of success and fashionability, rather than the projection of a sense of depravation are traits shared by both subcultures. Indeed, Amponsah and Spender seem more inclined to portray the phenomenon of la Sape in a similar vein to the glorification of material excess found in hip hop culture. The inherent paradoxes of poor unemployed urban youths who hustle to be able to wear designer duds or footage of Papa Wemba trying on garish fur coats by Cavalli, all seem to confirm this. Yet, la Sape has a history that is far older than this documentary suggests. Originating in Congo-Brazzaville in the 1930s, the movement’s inspiration (though often disputed) draws reference from the archetypal dandies of modernity as well as Western films of the 1940s and 1950s, especially those of mobster, black and white thrillers, and the Three Musketeers. The sapeurs of Brazzaville were mainly composed of lower middle class young men, high school drop outs, and later, disenfranchised youths. Observing a strict three color rule, their austere elegance became a method to cope with colonialist hegemony and assimilation policies, as well as a way of subversion and resistance. In addition, the acronym la Sape plays on the French term for clothing and points to the fascination with their colonizers. The sapeurs of Brazzaville preached a conservative style that focused on cleanliness and absence from using hard drugs. Through the cultivation of clothes, they sought to define their social distinctiveness while deriving pleasure in admiring themselves, somewhat akin to what Pierre Bourdieu has called a ‘strategy of self-representation’. Fashion became a symbolic gesture of reclaiming power in times of economic deprivation and attempts at political dominance. In some instances, it proved a man could be a master of his own fate. Some authors have remarked that the sapeurs concealed their social failure through the presentation of self and the transformation of it into an apparent victory.

galeriebaudouin0092.jpg
The Brazzaville look Photo by Baudouin Mouanda

The outward display of self was an important aspect of colonial society. Sapeurs understood how crucial it was to assert (affirmer) oneself and make an elaborate entrance (débarquer). Even the sapeur’s walk was an individualized form of art. Young men would taunt the crowd with their diffidence and then saunter the length of the stage, head held high, shoulders rolling, displaying their clothes. The spread of la Sape across the river to Zaire in the 1970s went in tandem with the explosion of lingala music on the international scene. It was driven by urban elites who had been abroad, who could tell apart their Yamamoto from their Montana, and an unstructured jackets from a deconstructed suit. As bands began to sign recording contracts in France and Belgium, they would often return home to Kinshasa with suitcases filled with designer labels. Fans of rival bands competed with each other to see who looked the coolest. Similar to other movements that derived their distinctive looks through their association with popular music (e.g. Mods, Punks, and New Romantics), the sapeurs during the post-colonial era re-appropriated big-name European designers and absorbed it into their own inimitable style. The sapeurs in Kinshasa were more flamboyant and exaggerated in their style than their brothers in Brazzaville, fashioning themselves in vibrant prints and exuberant layers of colors. At the same time, from the late 1970s onward, the economic crisis that rocked Zaire meant that few men could affirm their masculinity through consumption. During the Mobutu years, anything associated with Western culture was outlawed in a state-sponsored drive for “authenticity”. The abacost became the official uniform mandated by the Mobutu regime, the origin of the word derived from the French saying for “down with the suit” (à bas le costume). Moreover, foreign music was banned from the local radio stations, propelling Papa Wemba and his band to seek out a musical language that was neither derivative nor tradition-bound. His embrace of la Sape was also a direct (albeit unwittingly) political reaction to authoritarian dictates over public appearance. The movement of la Sape was distinctly “unauthentic” since it provided the opportunity to subvert the established modes and reject accepted norms.

For the exception of the absence of the history of la Sape, The Importance of Being Elegant provides a fascinating glimpse at a socio-cultural phenomenon that is more than three decades old.

Posted in Designers, Film


11 Responses to “A Matter of Style”

  1. Monica Says:

    That looks like a fascinating documentary.

  2. fashionprojects Says:

    Hi Monica, Yes and it was great to see how they wore çomme, watanabe and Yamamoto against the grain. They truly appropriated them!

  3. orin ink Says:

    “there are 40,000,000 naked people “on the other side of the rapids wrote “explorer”Henry Morton Stanley in 1878 on his return from the heart of tropical africa”and the cotton spinners of manchester are waiting to cloth them…Birmingham factories are glowing with red metal that shall presently be made into ironworks in every fashion and shape for them …and the ministers ofChrist are zealious to
    bring them,the “poor” benighted heathen into the Christian fold”.

    what is almost always missing to me in discourses on europe’s and america’s cultural influence on the rest of the world is the history of colonialism and how deep a phsycological wound colonialsm left in the minds of Africa,India and the far East.This is where fashion comes in handy,because human beings from these cultures have always adorned and embellished but took inspiration from there surroundings there created rites and customs and had there own very strong sense of design and beauty,but fashion today can be a barometer for how effective one nation,one tribes ideology is over another.This sounds like what this documentary is about also.This socio-cultural phenomenon is more than 3 decades old it goes back to the fifteenth century.

  4. Patty Says:

    Thanks for that enthusiastic comment, Orin. Although I have to emphasize that while the directors examine the cult of la SAPE in an interesting way, they do leave out the rich historical origins of this socio-cultural phenomena (which, in my opinion, is far more interesting). So to the uninitiated, Papa Wemba just comes across as the quintessential siren of conspicuous consumption, and if not over simplistically, a thug.

    Not sure if I agree that there’s a lack of discourse on Western cultural influence (or impact) on the post-colonies. Check out the works of Appadurai, Mbembe,and Jeyifo, or the research on the cross-fertilization of Western and non-Western cultures in art, fashion, & design with regard to globalization. Also, I don’t think one can (or should) conflate the beginning of colonialism with the phenomena of la SAPE. While the two concepts are inevitably interrelated, they are still quite separate in that your quote from Stanley alludes to the colonizers’ desire to dress and “civilize” Africans, however la SAPE is not an imitation of their European colonizers, rather a reappropriation of Western style that is distinctly African.

  5. orin ink Says:

    My point is that there is nothing done in modern culture without a marketing idea behind it ,including this article and our discourse at this moment ,and that marketing in itself is the the empires new clothes so when i read of africans who are enamoured of looking like what most people in the western world do not want to look like anymore,while there brethren are supposedly starving .i think about the new scramble for africa and how the selling of dandy-ism is symptomatic of and is just one more way of draining the nation of there resources. People who are of western culture ,a shrewd and resourcefull set we are,Know that you take the mind first then the nation,so guns, bibles and books,control there agriculture, sell them disease and cures in its literal sense and in the case of fashion its metaphorical sense.I am just saying as a descendant of african slaves, i cant honestly say i find african people in suits as “distinctly african”,though i understand where you are coming from with i guess what black people as a whole have had to do to the suit in order for it to feel remotely close to the liberated feel of our traditional clothing,but to me the african aesthetic is not one of the suit ,that to me is inherently european,and africans who adapt it are of a afro-european mindset.They value what is european over or if they are wise, with ,what is african. Otherwise they would not wear cavelli and burberry at all.My point is globalization is rarely the cultural exchange it claims to be when we mostly portray what europes effect on the rest of the world is,or if it is just from the inside outwards .By that i mean i see black publications in the U.S. and abroad where 95%of the editorial is european and american designers.Black magazines in america are so colonized that they cant even think to find black designers to include in there editorial,unless it is a “black designer story”.

  6. orin ink Says:

    A master of his or her own fate is not a slave to fashion or to foriegn ,people who control there own lives are able to farm there own individual piece of the earth,heal themselves,and define there own cultural worth without “Humanitarian aid”or military occupation If by chance every woman in france decided to wear arab viels or the hijab the french government would banish it for the sake of cultural preservation.When i see articles on Africa of smiling negroes in bright coloured suits,i see an aspect of fashion that i find ugly,it is blacks as fascination and entertainment and i find that even more than ugly ,i find it extremely dull.Especially when i know it is being digested by the fashion set ,famious for there traditionally european mindset and apathetic disregard for humanity.

  7. orin ink Says:

    All in all thank you for responding and i really liked your article,it raised a lot of questions for me,I will try to get a hold of a copy.Keep up the great work.

  8. Radio Silence + Some Noise « threadbared Says:

    [...] been worrying at this postcolonial knot of politics and desires since I read a few months earlier Patty Chang’s review at Fashion Projects of George Amponsah and Cosima Spender’s documentary The Importance of Being Elegant. [...]

  9. LINKAGE: Burqas, Gay Taxes, Fatshion, and More « threadbared Says:

    [...] discovered Fashion Projects (both a print journal and a blog), I was particularly impressed by this essay about George Amponsah and Cosima Spender’s documentary, The Importance of Being Elegant, which examines the Congolese subculture centered around the [...]

  10. CONGO BRAZZAVILLE STREET STYLE - GENTLEMEN OF BACONGO | Shadders - Best of African Inspired Design Says:

    [...] look on point as they say, their dressing does the talking for them. If you grew up listening to Papa Wemba and Koffi Olomide you will probably catch my drift with the Congolese style and trends. We had the opportunity to [...]

  11. Andre Says:

    Genial post!! muchas gracias por la info…. abrazos desde argentina – buenos aires.

Leave a Reply

         



About Fashion Projects

Fashion Projects began in New York in 2004, with the aim to create a platform to highlight the importance of fashion — especially “experimental” fashion — within current critical discourses. Through interviews with a range of artists, designers, writers and curators, as well as through other planned projects and exhibits, we hope to foster a dialogue between theory and practice across disciplines.

We are primarily a print journal, however we also publish web-based updates and interviews (a “digest” version of which you can receive by signing up to our mailing list or via our RSS feed) and are currently working on exhibits based on past and future issues. To order any of our issues visit our ordering page.

We are a nonprofit organization, which has previously received grants from the Lower Manhattan Cultural Council and the New York City Department of Cultural Affairs.

We are currently a sponsored project by the New York Foundation of the Arts, a 501(c)(3), tax-exempt organization. Contributions on behalf of Fashion Projects can be made payable to the “New York Foundation of the Arts,” and are tax-deductible to the extent allowed by the law. For more information please don’t hesitate to contact us.

  


Mailing List



Contact

For editorial inquiries please email francesca

For advertising and all other matters please email erin

Distribution

Fashion Projects is distributed in the U.S. and Canada through Ubiquity Distributors (tel. 718-875-5491, info [at] ubiquitymags.com) and in Japan through Presspop Inc. (info [at] presspop.com). It can be found in independent bookstores, Universal News, and other magazines stands across North American and in select stores in Japan and Europe. You can also order it on our site via paypal.

find_us_on_facebook_badge-1.gif