to avoid paying a construction fee, jack mubiru, a father of the skateboarding scene in uganda, fabricated a story about building a private enclosure for a pet crocodile. most local officials and neighborhood residents had never heard of skateboarding. yet six years later, the sport has spread from the skate park to the streets, attracting children as young as five and adult women.
photographer yann gross always takes his deck with him on his journeys. during one trip to eastern africa, yann encountered a group of skaters in kitintale, a suburb of kampala, who had built the first and only half pipe in uganda. he ended up spending several months with the skaters, becoming a full member of the group, documenting a unique skate culture that, given the area’s contingencies, has styles and tricks all its own.
African American flappers and Jazz Age women
HOLY SHIT I HAVE NEVER SEEN BLACK FLAPPERS BEFORE!
There were many fabulous African American flappers. No wonder - it was African American musicians who put the Jazz in “The Jazz Age”! The Charleston dance iteself, which so epitomizes the era, made its debut in the all-Black musical “Runnin’ Wild”, and no one danced that flapper number better than Josephine Baker…save possibly for fellow Black artist Florence Mills, who claimed credit for inventing it (she said she debuted it in her “Plantation Revue” in the early 20s, developing it from a dance popular among slaves). The Charleston song was written by Black composer James P Johnson. Without women and girls like those above, the 1920s would never have roared.
without black women there’d be no flappers, no jazz babies, no liberated (white) women.
Reblogging for flappers and a piece of history that never makes it to movies.
African Creativity: African Barbershop Signes
(From: Ghana, South Africa, Benin, Kenya & Tanzania)
ALBINISM IN AFRICA:
Albinism is a rare, non-contagious, genetically inherited condition occurring in both genders regardless of ethnicity, in all countries of the world. It can happen to anyone if both father and mother carry the gene for it to be passed on even if they do not have albinism themselves. While numbers vary, in North America and Europe it is estimated that 1 in every 20,000 people have some form of albinism. In Tanzania, and throughout East Africa, albinism is much more prevalent, with estimates of 1 in 2,000 people being affected. Albinism results in a lack of pigmentation in the hair, skin and eyes, causing vulnerability to sun exposure and bright light. Almost all people with albinism are visually impaired; they may have a shortened life span by lung disease or may develop life-threatening skin cancers.
In several African countries, it is believed that body parts of persons with albinism possess magical powers capable of bringing riches if used in potions produced by local witchdoctors. Some even believe that the witchcraft is more powerful if the victim screams during the amputation, so body parts are often cut from live victims.
“These are manifestations of the worst forms of cruel, inhuman or degrading treatment and can never be justified,” the UN Special Rapporteur on torture, Juan E. Méndez said. “Under international human rights law it is the duty of the State to afford protection to persons with albinism against such barbaric acts.”
This week I’m wearing: Mr Nathan Stewart-Jarrett (x)
The fascination of our White counterparts with Black hair has always attracted mixed emotions. While some find their interest to be humorous and even natural, others find it annoying and offensive. In an interesting collection called, Can I Touch It?, photographer Endia Beal rounded up a group of middle-aged White women and took them to a hair salon to get hairstyles typically worn by Black women. The hairstyles were free, the ladies simply had to agree to have their photographs taken in corporate attire after, even if they were unhappy with the style afterwards. Interestingly, Endia did not allow the women to choose their hairstyles, instead, the styles were selected for them.
“I said, ‘I am going to give you a black hairstyle,’ and they were like, ‘You’re going to give me cornrows?’ ” Endia toldSlate.
“And I said, ‘No, we’re going to do finger waves.’ ‘Finger waves? What’s that? You mean from the ’20s?’ And I said, ‘These are a little bit different type of finger waves!’ ” she continued.
Endia revealed that she went after women who were at least 40 years old, but that she was really hoping to get the baby boomers.
“I wanted people that had a certain idea of what you’re supposed to look like in the workspace, because it would be a challenge for them to understand what I experienced in that space. And to a degree, many young white women have shared that experience, but for older white women it’s an experience they haven’t necessarily had,” she said.
She went on to reveal that the idea for the shoot was inspired by her experiences while interning in the IT Department at Yale, where most of her co-workers were White males. A big red afro was her style of choice at the time and one coworker tipped her off to a rumor that had been going on around the office about her male coworkers wanting to feel her hair. She allowed them to and then recorded their reactions on camera a week later.
“I wanted to allow someone to feel something different, to experience something they never had before, and through that experience, they felt uncomfortable. And then to talk about it kind of amplifies that feeling,” she expressed.
(via Madame Noire)
Oude pasfoto’s van vermoedelijk afro-amerikanen.
The fashion show was running an hour late, but no one seemed to mind. The rapper Waka Flocka Flame took a seat near the artist Terence Koh. Tank and Bambi, two miniature Pomeranians with more than 3,000 followers on Instagram, sat front row with their owner, the creative director Nicola Formichetti. Then, with a smoke-filled spectacle of bluish lasers and flickering LED signs, a mash-up of post-apocalyptic, post-Internet looks was unveiled.
The models, including a gender-contorting female performance artist from San Francisco named Boy Child, wore white-out eye contacts, light-up mouthpieces and an assortment of “luxury street wear” that included baggy pairs of athletic shorts, sweatshirts with satellite screen shots and silk-screened T-shirts.
By the time ASAP Rocky closed the show — wearing a backward white baseball cap, zippered neoprene jacket and drop-crotch jersey pants — the verdict was in: Hood by Air and its 25-year-old designer, Shayne Oliver, had created a fashion moment.
“It was one of those ‘wow’ instances,” said Karen Langley, the fashion director for Dazed & Confused, a youth culture magazine based in London. “After the show I went back to my office and told everyone, ‘We need to do something on that collection immediately.’ ”
Such feverishness from the front row suggests that the label has shed its cult status and has entered the fashion big leagues. With a style sensibility that draws from hip-hop and the art world, high fashion and street wear, Hood by Air straddles multiple spheres. Its commercial “classics” line is made up of basics like graphic long-sleeve T-shirts that sell for $160 on online retailers like RSVP Gallery, while its more conceptual runway pieces can cost as much as $2,000 at high-end boutiques like Colette in Paris and Harvey Nichols in London.
Weaving together these dichotomies is part of the thrill. “Almost single-handedly Hood by Air makes the New York fashion scene feel exciting — you want to be there, be part of their world,” said Nick Knight, a British photographer whose fashion film site, SHOWstudio, recently showcased a one-minute video for Hood by Air’s spring/summer 2013 collection. “And my 15-year-old son thinks they are the coolest brand, so they have to be.”
Mr. Oliver started the label in 2006, as a teenager with a small collection of T-shirts with the word “Hood” printed on them. He said that while growing up primarily in Brooklyn, in Bed-Stuy and Prospect Heights (with stints in St. Croix and Trinidad, where his mother is from), he developed a curiosity for connecting the dots among New York’s various creative enclaves.
“The name Hood by Air is a play off being from the hood, but taking the train downtown to hang out with skater boys and artists,” he said, referring to downtown personages like the late Dash Snow and Aaron Bondaroff, a gallerist who owns aNYthing, a boutique that was among the first to carry the label.
A dropout of the Fashion Institute of Technology and New York University, Mr. Oliver got his education instead as a club promoter for places like Happy Valley in Chelsea, and doing Vogue-ball dance routines at art events for Mr. Snow and Rashaad Newsome. Being a black gay man who crosses social and cultural lines, he said, has afforded him a layered perspective on how young men are subverting rules of dress.
“It’s about updating the way boys dress in the hood, the hood boys you would think would make fun of you, with the conceptual and loose way men like Dash and Terence were dressing in the art world,” he said during a recent interview at Peels, a restaurant on the Bowery. He wore a black-on-black ensemble of his own design that included a pair of loosefitting pants that could be zipped off to become boxer-length shorts. His nails were painted with glitter.
“The clothes became about pushing their look forward through an editing process of a certain taste level, like a checks and balances,” he said.
Mr. Oliver called his design sensibility “ghetto gothic” for shorthand, a phrase he shares with a popular underground party he hosts with Venus X that is spelled GHE20GOTH1K. “It’s a mix of darkness with the hood, but with a real sense of refinement,” he said.
A Web 1.0 influence is also apparent. “I got my break through Myspace, O.K.?” he said. “Everyone always forgets about Myspace, but it used to be the hottest thing. Long before everyone joined Twitter or any editors would view our clothes, it was the only outlet.”
This might explain his disparate-but-yet-somehow-connected references. His design palette is filled with aesthetic pairings that shouldn’t fuse together but do, like appropriated movie studio logos with the 1990s punk-rock conceptualism of the Belgian men’s-wear designers Raf Simons and Walter Van Beirendonck. Or the utilitarian street bravado of Supreme, with the theatrical androgyny of hooded sweatshirts cropped at the midriff.
And along with a few contemporaries like Proenza Schouler and DIS Magazine, Mr. Oliver incorporates online iconography to give his designs a knowing sense of now. For example, he places black-and-white graphics intentionally off-center, or lets his oversize logo be clipped by the bottom of a T-shirt — the graphic equivalent of having a blinking banner ad cut off by a browser screen.
It’s fitting, then, that his clothes would be ripe for pirating. Many credit Mr. Oliver’s particular aesthetic cocktail as having served as a style guide for some of men’s wear’s biggest voices — the most palpable being ASAP Rocky. The two met before ASAP struck it big, when the rapper would borrow pieces from a mutual friend.
So ubiquitous is the young rapper in HBA, as the label is often abbreviated, you would be forgiven for thinking he is a paid ambassador. In the video for “Long Live ASAP,” he mixes Hood by Air pieces with ones by Rick Owens. Opening for Rihanna on her current Diamonds World Tour, he is clad in a custom T-shirt that Mr. Oliver designed. (Rihanna’s backup dancers also wear long-sleeve shirts by HBA tied around their waists.) And in a bonus track, “Angels,” from his chart-topping debut album this year, “Long. Live. ASAP,” he boasts: “Hood by Air man I started that.”
It could be said that echoes of the label’s visual codes can also be found in the opulent street-rat look offered by Riccardo Tisci for Givenchy men’s wear, and in the metamorphosis of Kanye West from a pastel-loving prepster to a brooding kilt wearer. (Mr. West recently placed a large order for Hood by Air, Mr. Oliver said.)
“I don’t want to name names, but the amount of original pieces that have been stolen and not returned by stylists, but have been seen later in other designers’ collections, is insane,” he said.
Meanwhile, the label continues to grow. Last month, Mr. Oliver traveled to China to visit factories and explore production. And in June, a Hood by Air pop-up store will open in Los Angeles at a space hosted by Scion AV Installation, an art and music project paid for by Toyota.
“It’s so surreal, the possibilities,” he said.
For now Mr. Oliver is still exploring how to upend the fashion rules of young men. “What I want a man to wear, guys won’t be wearing for a while now,” he said. “I’m never pleased.”
Sapeur gevonden te Antwerpen.
Als ik hem vroeg, hem zijn favoriete foto door te sturen, één waarop hij vind dat hij het best gekleed is, stuurde hij mij deze door. Weldra komt zijn beschrijving.
THIS IS NOT A SUIT (2010) — A FILM BY A. SAUVAGE
Holland Wax / Super Wax van Vlisco (bekendste wax distributeur)
Verschillende designs, patronen. Meestal bestaande uit maxium 3 kleuren.
Wordt tijdens het nieuwe regime van Mobutu de verplichte officiële klederdracht.
(Sapeurs rebelleren hier subtiel tegen door zich te kleden zoals Westerse)