They are visible at fashion events in London, Milan, Dubai, and on the sidewalks of Paris. The majority of them are black African males who are dressed in outfits that are impeccably styled and make a statement. Known as “Sapeurs,” a term that originates from the French vernacular “se saper,” which translates to “to dress up,” and the Society for Ambience and Elegance (Sape), these individuals are distinguished by their unconventional and ostentatious fashion sense.
Origin and development
The movement was likely born in Central Africa, likely at the port of Bacongo, on the river that divides the two Congos, the Democratic Republic of the Congo (DR Congo, North of the river) and the Democratic Republic of the Congo (DR Congo, South of the river), according to research conducted by ethnologists and historians. The subculture originated in the period between 1919 and 1920, and it experienced significant growth and expansion during the 1950s. The initial Congolese emigrants, who included former infantrymen stationed in Europe, carried with them branded apparel, accessories, footwear, and other items considered ceremonial or opulent upon their return.
The initial parades and competitions were initiated in the vicinity of Brazzaville and Kinshasa, the capital cities of the two Congos, during this period. Sapeurs’ countenance, vocal expression, gait, and appearance serve as an analogy to dance competitions, as they exhibit, demonstrate, and attest to their abilities and skills. In addition to fashionable attire, effective verbal and visual communication are essential components of differentiation. Consequently, spectators congregated in both cities to observe the jousting and express their admiration for these “black aesthetes”—living works of art who were more elegantly dressed than the colonial authorities—as they performed.
In the 1970s, numerous Congolese families relocated their children to France to pursue an education, carrying with them their fashionable attire. The Sape movement in Europe was revitalized by young individuals such as Aurlus Mabele, a singer and composer, Djo Ballard, a jeweler, Ricley Loubaky, a Paris pioneer, Jocelyn Armel, a fashion designer known as “The Bachelor,” Ben Moukacha, and Papa Wemba, a musician who is also known as the “King of Rumba Rock.”
The Maison des Étudiants de Congolais (Congolese Students House) in Paris was the birthplace of Sape, and the movement acquired significant traction in France from 1984 to 1985. Situated in the Third Arrondissement of the city, the MEC functioned as a central center of activity for both local students and merchants who were traveling from Brazzaville and Kinshasa. The MEC was the definitive source for authentic Sape, according to prominent figures in the field, such as Nono Ngando, Djo Balard, Ben Moukacha, and Jocelyn Armel, whom we encountered throughout this investigation. Balard provides clarification:
“The MEC is the Mecca of the Sapeurs. Pretty much everything started there. It was a party all the time competitive moments but in good spirits and in the Sape. You could see the silhouettes all dressed up. The colours and brands were all singing. It was a sight to behold. At the MEC, the rule was to be well dressed, to shout it, enjoy it and even swear by it.”
A motion that attracts media attention
This emerging cohort of refined and impassioned Africans, who frequented the most prestigious fashion boutiques, was the subject of discussion in major European capitals and nearly every region of Africa. The Sape movement garnered global attention and became a topic of discussion in Europe, particularly in France, within a matter of years. In an effort to democratize their movement, sapeurs from Paris persisted in generating enthusiasm. The first “mainstream” cultural reference to the movement was created by French director Thomas Gilou in the mid-1980s with his film Black Mic Mac.
Author’s assistants
In 2010, Paul Smith, a stylist and designer, introduced the Sape collection, which was inspired by the vibrant and unconventional style of African Sapeurs. The English photographer Martin Parr visited the Sapeurs and presented a photo exhibition in the Goutte d’Or district of Paris during a 2011 visit. The exhibition was extensively covered by the media. A collection of men’s shoes inspired by the kitendi model was introduced by designer Christian Louboutin in 2016. The name “kitendi” is derived from the Sape movement in Lingala, a language that is spoken in a significant portion of Central Africa.
The Sapeurs’ vibrant activism
Clothing has the potential to transcend ordinary individual or collective expression and can acquire religious, symbolic, or political significance. The objective of my research is to investigate the implications and consequences of the apparent acquisition of opulent clothing by black Sapeurs in the context of postcolonial studies and subaltern studies, an academic discipline that focuses on the analysis of marginalized or overlooked groups or individuals who are defined by their race, class, gender, sexual orientation, ethnicity, or religion.
Sapeurs are not typical consumers of luxury products. In contrast, they actively imbue brands with their identity and aspire for social validation. The social class to which an individual belongs is determined by the level of admiration conferred upon luxury.
An ensemble that surpasses conventional Western design is the result of an extensive coordination of embellishments, tints, and designs, which establish the movement’s unique aesthetic. An abundance of accessories is present, such as shoes, scarves, belts, watches, spectacles, hats, cosmetics, and fragrances. This abundance is present to underscore Sapeur’s message that “striking hard”—that is, making a substantial impact in a competitive environment—is the most important thing. Individual ingenuity, a touch of humor, and subtle provocation are all highlighted.
Author’s assistants
The Sapeur aims to establish his presence and attract attention by adorning himself with an abundance of vibrant tints and embellishments, thereby assuming the role of a participant in the social theater. He asserted his right to personal gratification, visibility, existence, and approbation by donning his distinctive garments.
Insignia-adorned clothing
Clothing serves a variety of functions, such as aesthetic, symbolic, institutional, and practical. It affords the Sapeurs the chance to articulate a political position that is worthy of respect and esteem. Sape is in striking contrast to the stigmatization that is frequently associated with destitution and patrons who are deemed unworthy of entering a high-end apparel boutique.
Furthermore, the demand for justice and reparation is influenced by the colonial past. The European population’s political and military power has been symbolized by the colonial headgear and khaki uniform throughout African history. The image of authority is inverted by the Sape movement, and the use of the dazzling suit, headgear, cigar, and cane simultaneously reminds us that colonial domination was humiliating and enables us to symbolically triumph over it.
“Ambiance” is a concluding concept of considerable significance in the Sapeurs’ lexicon. They actively pursue large audiences and perform, thereby fostering sociability. The electrifying atmosphere, rhythmic movements and music, hypnotic language flow, and colorful and opulent attire all evoke veneration in a group. This validates the Sapeur’s status and earns the respect of their colleagues.
