Throughout fashion history, black men have led the way in making fearless sartorial statements. They transform these decisions into a deeply effective medium of resistance and art. This rich narrative spans from the time of slavery to contemporary fashion, showcasing how style has been employed to reclaim identity and challenge societal norms. He became the first black US creative director at Vogue. Anna Wintour actually once described him as such, “A dandy among dandies,” which couldn’t quite describe his towering peacock genius style. His work was focused on celebrating African heritage and reclaiming the fashion narrative, rewriting the negative stereotypes and connotations often tied to Africa and migration.
This creative rebellion against fashion has its roots in trailblazers like Ellen Craft. In 1848, she and her husband, William Craft, courageously fled slavery in Georgia. Disguised as a white gentleman, Ellen created a new identity that made her escape possible. William, portraying himself as her servant, donned “a very good second-hand white beaver [top hat],” which nearly compromised their carefully orchestrated plan. The Tabor story serves as a portrait of the lengths people had to go in order to claim their identities when faced with oppressive realities.
The unexpected arrival of the zoot suit in the late 1930s was the most important recent chapter in this saga. Originating in Harlem’s vibrant dance halls, the zoot suit became a powerful symbol of self-expression for black individuals during a time of racial segregation. The zoot suit is extreme, with exaggerated shoulder pads, wide lapels and ballooning trousers cuffed at the ankle. Iconic personalities such as Dizzy Gillespie, Cab Calloway, and Malcolm X strutted in this sharp style. Clothing as a canvas These men’s performances were some of the first examples of how fashion could be used to express and create art.
Modern designers continue this legacy. Labrum, Foday Dumbuya’s brand, embodies his story from Sierra Leone to Cyprus and England. Dumbuya intentionally uses fashion as a storytelling medium, often echoing that his clothing is “designed by an immigrant.” For each project, he frequently threads family-created immigration papers into his designs. Through this printed silk fabrics this approach brings a human and historical context to today’s fashion world.
Iké Udé’s self-portraits, particularly Sartorial Anarchy #5, cut deeply and brilliantly into the otherwise dense and elaborate world of dandyism. Both exhibitions celebrate and satirize this powerful creative force. Udé articulates the complexity of self-representation in public spaces:
“Whereas the self can be devoured by public scrutiny, it can be saved by private self-objectification.” – Iké Udé
As scholar Monica L. Miller notes, black dandyism is a culture always already in flux. This idea is just ripe with connections to her findings. Miller emphasizes the radical history of dandyism. Dance has long been not only an integral element of African culture, but as the Africans’ most radical form of mass resistance and expression.
The recent exhibition examining men’s style and dandyism underscores its role in shaping transatlantic black identities over the past 300 years. It demonstrates how black men have used fashion not only to express individuality but to navigate complex social landscapes.
One particularly powerful historical example is Soubise, an enslaved African who changed his phenotype. He took back the flamboyant clothing they made him wear and dialed it up to eleven. He dressed with flamboyance, equally donning diamond-buckled red-heeled shoes and lace ruffles, and through his oppression, created the ultimate outward expression of rejection.
The discussions about these past and present individuals are giving way to the rich narratives sewn into the fabric of their garments. These garments embody identity, resilience, and cultural pride. Anna Wintour reflects on Talley’s impact on fashion:
“He understood that, especially as a black man, what you wore told a story about you, about your history, about self-respect.” – Anna Wintour
This feeling eerily echoes the contemporary significance of black dandyism today. Tyler Mitchell’s photo essay introduces the modern dandies who are keeping this tradition of audacity alive through their style. A graduate of the acclaimed Cranbrook Academy of Art, his photos demonstrate an inventive spirit that knows no age limit.
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