You can come across them in the Parisian metros, in the Gout d’0r district or even during major fashion events in London, Milan, Brussels, Dubai… They are mainly African, black men with an atypical clothing look, flashy and looking to get noticed: they are called African Sappers or even “black dandies”.
These Sapeurs (and certainly not firefighters), who claim to be part of the Sape (Society of Ambiance Makers and Elegant People) save appearances with a luxurious, offbeat, designer and baroque style of clothing. They want to ignite through their speech, their style and the dramatization of their actions.
History, genesis and developments
The Sape movement was born in Central Africa. The work of ethnologists and historians on the issue seems to attribute the port of Bacongo (river which separates the two Congos) as the starting point of this subculture in the years 1919-1920. Thirty years later, in the 1950s, the Sape will experience new momentum and take off. The first Congolese emigrants (including veterans) returning to the country brought back products perceived as luxurious or ceremonial: designer objects, accessories, clothing or shoes from major brands.
It is from there that the first parades, processions and confrontations begin, in the districts of the two Congos (Brazzaville and Kinshasa). On the same principle as dance battles, you must show, demonstrate and prove your abilities and skills in Sape; gestures, voice, gait, gaze… in other words, parverbal communication is essential to stand out, in addition to the exhibition of clothing from major brands. So almost everywhere in Congo-Brazzaville and Congo-Kinshasa, crowds form to attend the games, contemplate, support and acclaim these “black aesthetes”, living works of art and, moreover, better dressed than the white settlers. -themselves.
[Plus de 85 000 lecteurs font confiance aux newsletters de The Conversation pour mieux comprendre les grands enjeux du monde. Abonnez-vous aujourd’hui]
Subsequently, in the 1970s, groups of Congolese students left their native land to reach France. The movement is experiencing a new lease of life with young people like Aurlus Mabele, Djo Ballard, Ricley Loubaky, Jocelyn Armel, Ben Moukacha and Papa Wemba who will quickly become emblematic and historical figures of the movement.
From 1984-1985, the movement optimized its organization and the MEC (Maison des Étudiants de Congolais) became the cradle of the Sape in France. The MEC was located at 20 rue Béranger, in the IIIe district of Paris. All the students and some Congolese traders (Congo-Brazzaville and Congo-Kinshasa) attended the MEC. For the king of Sape, Djo Balard and some elders of the movement like Ben Moukacha, Jocelyn Armel, Nono Ngando (all met as part of this research), the MEC is the official starting point of authentic Sape. It was from the MEC that the movement really took off and became international. Djo Balard explains:
“The MEC is the Mecca of Sappers. Almost everything started there. It was a party all the time; strong moments of competition but in good humor and in the Sape. We saw well-dressed figures. We made the colors and brands sing. You had to see that. At the MEC, the slogan was: be well dressed, shout it, enjoy it and even swear at it. »
A publicized movement
Almost everywhere in Africa and in some large European capitals, especially in Paris, people were talking about this new group of Africans, very elegant and passionate black people who frequent boutiques like Hermès, Yves Saint Laurent, Cardin, Prada, Balmain, Yamamoto, Lobb, Weston, Dior, Cerutti 1881, Preston… In just a few years, the Sape movement has spread to the world of the press, the media and the internet. We are talking about it in Europe and particularly in France where the Parisian Sapeurs continue to create “buzz” to democratize and popularize their movement and even their doctrine. In the 80s, French director Thomas Gilou directed the film Black Mic Mac which was a first “mainstream” cultural nod to this movement.
Provided by the author
Stylist and designer Paul Smith launched a Sape collection in 2010 to pay vibrant homage to the colorful, lively, flashy and offbeat penchant for the African Sappers’ clothing style. The famous English photographer Martin Parr, during a stay in 2011 in the French capital, visited the Sapeurs and presented a photo exhibition in the Goutte d’or district (XVIIIe borough). An exhibition very strongly relayed by the press, social networks and professional blogs (fashion, photography, etc.). Finally, the designer Christian Louboutin, launched in 2016 a collection of Spring Summer men’s shoes inspired by the Kitendi model (kitendi designates the Sape movement in Lingala, a language spoken in a large part of central Africa).
Behind the Sape, a militant speech
Clothing practices can go beyond individual or collective expressiveness to enter the religious, symbolic or political field. My research work, which falls within the field of postcolonial studies and “subaltern studies” (which designates the study of people, minorities or groups ignored, little recognized or dominated by race, social class, gender, sexual orientation, “ethnicity” or religion) aims to explore the meaning and impact of the demonstrative consumption of sartorial luxury by Black African Sappers.
Sapeurs are not traditional customers for luxury brands. They are seeking social recognition and appropriating brands. Luxury, precisely, with its different degrees of appreciation, being used here as the reference of a group of belonging.
What makes the Sapeur’s particular style is its very codified way of wearing accessories, brands, colors, patterns and thus creating an original outfit in reference to the classic Western model. Accessories are present in excess: shoes, scarf, socks, underwear, clutch, belt, watches, glasses, hat, cigar, cosmetics, perfumes and makeup. This profusion is there to underline the Sapeur’s speech: it is a question of “hitting hard”, that is to say of making a strong impression in a competitive context. By showing off as many luxury brands as possible, we emphasize the authenticity of the outfit, our personal creativity and a touch of humor and subtle provocation.
Provided by the author
The Sapper seeks to signal his presence to others, to be noticed: the excess of colors, brands and accessories transforms him into an actor in social theater, which he suddenly makes much more visible. Through his original attire, he claims the right to have fun, but also to appear, to exist and to challenge.
These clothes rustling with symbols
Clothing fulfills several functions: practical, utilitarian, institutional, symbolic, aesthetic… Among the Sapeurs, valuable clothing allows for a political discourse. And this speech pleads for dignity. La Sape opposes the humiliation linked to poverty and the condition of the “foreign or black” customer who can be perceived as illegitimate in luxury stores.
The colonial past also plays a role in this need for reparation and justice. In the recent history of the African continent, the khaki outfit and the colonial helmet have long represented the political and military power of white people; with the Sape, the image of power is reversed and the luxury label, the hat, the cigar, the cane, the sparkling costume make it possible to gain recognition, to symbolically overcome the humiliation of colonial domination – while remembering that it took place.
Finally, there is a very important term in the world of Sapeurs, it is ambiance: Sapeurs are ambianceurs. They take to the streets and encourage intense sociability, creating crowds. The colorful and luxurious clothes, the dance of the claws, the flow of words (like a sort of trance), the warm music and the electric atmosphere provoke collective admiration, legitimization between peers and validate the status of the Sapper.
