Archives for the month of: July, 2013

Here’s what’s wrong with hijab tourism and your cutesy “modesty experiments”.

I am sharing someone else’s blog today as I find this interesting, provocative, clever and very well written. I’m not Muslim, I’m not doing Ramadam, but it’s way too hot to write my thought today. but I will ūüôā

Read this, it’s worth it for anyone interested in how and why we cover/uncover our bodies. Enjoy


This post is dedicated to His Royal Highness the Royal Baby (George Alexander Louis) who is really quite lucky to be born in present times rather than in past centuries – in terms of his public image.

Kate e William e baby 

Royal Baby will, of course, be followed 24/7 by the press for the rest of his life, but his parents have done a great deal to ensure that his public image will not have to be so¬†elitist and unreachable as the previous generations (thus allowing him to feel more “normal” and part of society). In the photo bellow we see just how¬†informal the royal couple can be (!)

Kate e William

and I am sure we will see some very “realistic” family snapshots in the press in the future.

Of course it hasn’t¬†always been like this and not just for royal children. It took philosophers like Jean Jacques Rousseau, in the last decades of the 18th Century,¬†to¬†convince cultured western society that children were not adults¬†and that¬†their own dimension (“child sub-culture” ?),¬† should be respected. Above all,¬†children¬†should interact with their parents as this was the natural way of the world. If we look at family portraits from the 18th Century we have confirmation of this¬†evolving attitude of western society towards children.

From dressing children like miniature adults as soon as they could walk and keeping them at arms’ length in the pictures

J.Kneller,Harvey family,1721,Tate

J.Kneller,Harvey family,1721,Tate Britain, UK

to a more intimate and relaxed atmosphere of the upper class portraits of the late ’80s and 90s of the 1700s

anon,woman e child,1795-8c,met NY

anon,woman e child,1795-8c, Metropolitan  Museum, NY

In this portrait the mother shows all the “natural” instincts¬†encouraged by J.J. Rousseau. She probably breast-fed the child too. The quality of the painting reveals a wealthy patron as does the fashion the lady is wearing¬†: crisp white cotton or linen muslin, in the simplest of styles¬†suitable for the¬†“actively involved” mother. The simplicity of her hairstyle and ¬†the lack of make-up should also be read as part of this constructed or “styled” appearance. She wants to charm with her purity of spirit (and no expenses spared – imported textiles, fine silk shawl and ribbon)

more on the construction of the image of motherhood coming soon!

Vlisco campaign 6.2013 Vlisco, 2013

Picking up from my last post, here is a beautiful image from the latest ad campaign by Vlisco (see previous post). They have some cracking designers and stylists in their team Рthe fashion is always in tune with the latest western trends as well as pan-african ones. the fabrics are traditional but exciting in their colour schemes; their combinations for the outfits are just perfect. 10 out of 10 from FASHIONARCHAEOLOGY.

I also want to go back to the topic of african art/textiles by exploring the¬†output of two more contemporary artists who are using textiles in their work to express “africaness” and more besides.

Cristina de Middel is a Spanish photographer-artist whose imagination was sparked off by a real story concerning Africa and its lack of space exploration programs (!), yes sounds barmy but if you visit her website and take a look at her AFRONAUTS projects you will be fascinated too.

Cristina de Middel, AfronautAfronaut from Zambia wearing a “wax” space suit and glass helmet.

De Middel¬†has chosen to use¬†” traditional” printed¬†textiles as an immediate visual reference to the local culture,¬†thus creating a bizarre (even quaint) image,¬†and so underlines the patronizing attitude the whole space travel from Africa story inspired. Once again, as with Yinka Shonibare, textiles are a vehicle for representing the more uncomfortable agendas.

Another artist using photography to address colonialism, it’s after effects and all things threatening to African culture is Samuel Fosso. In a series of self portraits he impersonates identities of negative figures in african society. He too makes significant use of “traditional” textiles

Samuel Fosso, le chef celui qui a vendu l'Afrique aux colons, selfportrait,1997, Magerorocca gallery milanLe chef celui qui a vendu¬†l’afrique aux colons” self-portrait, 1997

Samuel Fosso, la femme americaine lib√©r√©e, selfportrait,1997, Magerorocca gallery milanLa femme americaine“, self-portrait, 1997

¬†In this last image, fashion is clearly beeing criticised – its use to create an agressive “americanized” african woman far from traditional values.

 shrimp print cotton wax Vlisco, Holand 2009cwaxcotton, Vlisco, Holand 2011cshrimp print cotton wax Vlisco, Holand 2009c

FASHIONARCHAEOLOGY¬†¬†has a thing about African textiles. A deep-rooted fascination (which leads to compulsive buying of textiles a/o clothing made of it). Why I love them so much? I would start by saying that I find them ‚Äúexotic‚Ä̂Ķdifferent from what surrounds me, different from the prevailing culture of textiles and dress I live in on a daily basis. The fact that my craving for African textiles emerges as the spring turns to summer has to be significant . Although I also like to wear the odd bit of African print in the middle of winter to purposely jar with the muted sombre tones of winter clothing.

So, back to exoticism and the magical unknown. Here are some Africa/fashion/textiles/art related images that I have been contemplating.

First thing: Yinka Shonibare MBE      British artist of Nigerian origins

Yinka Shonibare MBE artist self portrait (after warhol) 1

¬†He too is obsessed with african textiles. In fact I should be more precise he is, like myself, interested in what are called “wax” in jargon. But in his case this “obsession” makes far more sense. In this self-portrait he has super imposed a photo of himself and a piece of african fabric – yes quite odd but as he explains in his own words he is investigating a very peculiar african heritage.

“In 1990 I developed another way of questioning ideas about cultural authenticity. I started to use “African” fabric purchased from Brixton Market in my work. Batik, which is commonly known as “African” fabric, has its origins in Indonesia and is industrially produced in Holland and Manchester for export to Africa where it is made into traditional dress. The adoption of the fabric, particularly in West Africa, has led to the development of local industries which also manufacture fabrics.¬†.¬†.¬†.¬†In my own practice, I have used the fabrics as a metaphor for challenging various notions of authenticity both in art and identity.”

‚ÄĒYinka Shonibare (London, 1996) from Met museum NY¬† 2009 exhibition on Africa Textiles

“Wax”¬†textiles are not african at all and¬†if you visit the website of a textile company called Vlisco in Holland you can read up about the origins of this¬†brilliantly fake¬†product. By the early 1800s european¬†traders (ok colonialist¬†exploiters)¬†had tapped into a key market in Africa – dress textiles. Industrialization had become a reality in northern Europe, cotton was being spun, woven and printed in a flash and it was cheap. The cunning plan was to observe local african traditions (beginning to be seriously challenged¬†by colonialist culture) and re-elaborate them to produce a new tradition. These manufacturers, with the aid of clever agents across Africa, soon reinvented local textiles and dress habits. Nearly 200 years later and this type of textile is still going strong . Over time it has¬† developed its own subculture. Different patterns with specific meanings attributed to them in different areas. Some are obvious references to contemporary culture, for example the graduation print below which speaks about the quest for bettering the self, the need for education and the pride in achievement.

graduation/education design, printed wax cotton, Vlisco, Holland Vlisco wax

The two prints below are more conceptual. They are abstract shapes of primitive strength and strong vibrant shades suitable for the scorching sun of west Africa. At the same time they also, somehow work up the “native” heritage (or myth of the real africa ). the point is they did not exist before colonialism…

1080_0_1c3421ea-7ed5-4aa1-bc08-7146c980a570_125_165 wax cotton Vlisco Holland Vlisco wax

And to finish this first post (more to follow) on Africa and its invented textile/fashion/art cultures here are two amazing pieces from Yinka Shonibare

Yinka Shonibare, photo, fake death picture (the death of Chatterton - Henry Wallis) 2011

Fake death picture (the death of Chatterton – Henry Wallis) 2011

Yinka Shonibare, photo, the sleep of reason produces monsters (america) 2008

The sleep of reason produces monsters (America) 2008