Clothing used for: Rebellion

Clothing as a form of rebellion runs deep within the British psyche, as a refusal to follow the societal norm has been inherent in every youth movement since the war.

Punk is surely the most lasting expression of this to date, beginning in the 70s against a backdrop of growing unease due to rising unemployment and post war consensus politics which preceded Thatcherism. The Immigration Acts in 1962 and ’65, restricting the amount of foreign immigrants into Britain, also added to the tension by institutionalising racism within the country and adding to many people’s anti-establishment views and increasing mistrust of the police. This was particularly prevalent in places such as Brixton, which had predominantly afro-Caribbean community. Police aimed at reducing the high levels of crime through “Operation Swamp” where hundreds of officers were dispatched, many disguised in ordinary clothing, to use the “sus law”. Individuals would be stopped and searched at random based on a “suspicion’ of wrong-doing, often misused in order to persecute the black community.

You see, he feels like Ivan
Born under the Brixton sun
His game is called survivin'
At the end of the harder they come

You know it means no mercy
They caught him with a gun
No need for the Black Maria
Goodbye to the Brixton sun

- The Clash, Guns Of Brixton

Just as the Sapeurs adopted the image of the French Colonials, so too did British Punk bands like the Clash welcome the influence of Jamaican immigrants, expressing sympathy for their ill treatment and embracing ska and reggae music.

This blatant disassociation from the police and government was reflected in their militaristic dress; the rebel uniform created by Alex Michon to unite those who were prepared to fight in the war against ‘the man’. She used tough, heavy duty black out material left over from the WWII and brass suitcase fasteners instead of buttons: “it was flash but still tough. They were on parade, but generals not foot soldiers”.

The Clash's military inspired clothing

Of course Punk fashion cannot be discussed with out mentioning the influence of Malcolm McClaren and Vivienne Westwood, who’s shop SEX McClaren described as “a haven for the disenfranchised that, in turn, helped to create the phenomenon known as punk rock”.

Their aesthetic was born from a completely different set of influences to Michon. Outsider literature and deviant sex were added to the politics of anarchy and teen cults, creating “a single cleansing force that swept aside pop culture’s indulgence and excesses”. The trousers made with restricting straps were inspired by the rubber fetish wear originally sold in SEX, whilst muslin shirts were cut with long sleeves to look like straight jackets. An off-center neck hole and jangling D-rings which quickly became tattered added to the overall look, which was designed to set them apart from the acquiescent society.  

Vivienne Westwood's punk fashion designs.

Although visually the Punk and Sapeur rebellions could not look more different, both hold the same ideals. Wearers wanted to stand out from the rest of society, purposefully going against what was considered acceptable (or even legal) to demonstrate their contempt for the government. DIY plays a crucial part, as both fashions were brought as a result of relative poverty. New clothes could rarely be afforded and so both groups often made their clothes. The difference is Sapeurs will constantly repair and swap outfits to give an illusion of wealth, whilst punks highlight the wear and tear.

Sapeur vs Punk rebellion

I feel the reason behind this may lie in the differing cultural aspirations and rich/poor divide in each of these countries.

The Congo is extremely rich in natural resources, however throughout history this has been controlled by corrupt powers:

 Following Congolese independence in 1960, Joseph Mobutu controlled much of the country, using the riches to ensure he remained in power. Despite this the country gradually slipped out of his control, helped along by the genocide in neighbouring Rwanda.

After Rwanda's genocidal Hutu regime was overthrown, more than two million Hutus are thought to have fled into DR Congo. This included many of the militiamen responsible for the genocide, who quickly allied themselves with Mobutu’s government.

Rwanda’s new Tutsi government fought against the Congolese and Hutu milita troops, eventually overthrowing Mobutu’s government. For the next six years the Congo war fought over by African countries, all of whom were accused of using the war as cover in order to steal the countries riches. During this time more than 5 million people died.

Life during the 6 years of war

As a result of this there is a very large rich/poor divide: even during the French rule, money has always been reserved for those in power, leaving the rest of population impoverished. Unlike in Britain there is no social mobility, no possibility to work your way out poverty. As a result the Sapeurs rebellion is based far more in fantasy– dressing like rich men is a form of escapism, for the most part unachievable in reality. In contrast Punk's would highlight their lower class status, publicising it through fashion and shouting about it through music so that it was made impossible for the government to continue to ignore the problems they faced. Change was possible and if the government didn't allow it democracy stated they could be voted out.

Widespread media coverage following The Sex Pistols swearing on national television

It was a vocal and violent rebellion, aimed to amass media coverage in order to become as wide reaching as possible. The more people across Britain who knew, the more could join the movement and the more significant the impact would be. All they stood to lose was a good reputation in civilised society and the trust of the police. In contrast, the recent history of persecution and violence in the Congo means that the Sapeurs’ must lead a peaceful protest. Threatening behaviour or sympathising with a particular government would be unwise as “tomorrow there might be another election or even a coup and they want to remain totally autonomous.” The risk is far higher. Mistrust from the government is unlikely to lead to a night spent in a cell; instead the penalty could be death.

Relating Research To A British Audience

Following the ethos of the Sapeurs, I would like to look further into the ways in which clothing can be used a mechanism for rebellion, escapism and showing cultural heritage. All three of these things have had a huge impact in the UK’s recent history and so I think it would be fascinating to see how I could reinterpret the Cult Of Elegance for a modern British audience. 

Influence

Le SAPE played a very important role after the countries civil war. With nothing left to do in the town – everything had been shut down – it was the Sapeurs who brought back the villages atmosphere that had been lost during the war. They continued to spread their moral messages of peace and unity; for the traumatised population, the Sapeurs stood as beacons of hope. After all, no one wants to get dressed up just to stay at home!

Morals

A true Sapeur adheres to a very strict moral code: “it is more significant to know the rules of elegance than to have a Dior or Versace outfit”. These rules about how to dress and behave in a social context are taught by some famous Sapeurs to anyone who wishes to learn – “no one is excluded”. They are all normal people, living in normal African villages however, once Sapeur status is achieved, they are treated like celebrities.. Exhaulted by their community, they are often paid to attend weddings, funerals and anniversaries.

Sapeurs stand out from their run down villages

Most Sapeurs are Catholic and attend church regularly, always dressed up. Their relationship with Christianity is important as both share the same values about peace and turning the other cheek. “When there’s trouble brewing a true Sapeur will always try dialogue, always try to be diplomatic and avoid conflict to the last. A true Sapeur does not hate others while many might have seen war and death first hand.”

Sapeurs inspire awe where ever they go

Such moral high ground has often attracted the attention of the government, who have attempted to align themselves with the group. During the celebrations of independence the authorities invited Le Sapeurs to attend, however many turned the opportunity down. “A real Sapeur is a revolutionary, they want to remain totally autonomous.”

Style

“The white man might have invented clothes, but we have turned it into an art.”

Robert de Montesquiou, demonstrating 1920s Parisien fashion

Whilst the roots of the style lie in 1920s Paris, modern day Sapeurs reimagine the suit in an array of vibrant colours. “A good Sapeur has to know the rules of harmoniously matched colours without being excessive,” combining a maximum of three colours in an outfit. The tone of these colours can distinguish between diplomats (politicians, ambassadors or television journalists) and Gentlemen. The former much combine clothes in more conventional tones of blue, grey or black; the latter is an artist and can wear whatever colours they choose. In both cases is it important eccentricity does not overcome the key principals of elegance. “A sense of measure and a good culture is always required.”

A Gentlemen and a Diplomat

The cigar is an essential prop in conveying this. Although almost always unlit, the cigar is expensive and so adds value to the suit worn. A gentlemen Sapeur is always expected to ask his neighbour if he may light his cigar, making it a symbol of “excellence and refinement”.  

Cigars - the symbol of refinement

However despite appearances, the Sapeurs are not rich men. Living in shanty towns in a country with a recent history of war, they work hard to dedicate as much money as they can towards the most beautiful suits they can find. Sapeurs may buy their clothes from fairly cheap shops or swap expensive clothes with others in order to keep up an impression of affluence. Many are designers or makers by trade and so can repair members outfits. It is not money that makes a Sapeur, but style. “As a Sapeur you have to find your very own style, something that is you. The Scottish man’s style is me and many people love it.”

Sapeurs in full Scottish evening dress

Origins

The SAPE style began to develop when the Congo was a French colony: "many Congolese people were fascinated with French sophistication and decided to emulate the French mode". Historically the dream of the Sapeur is to go to Paris, the capital of Fashion, and return as an "aristocrat of ultimate elegance". For many their chance came after the Second World War, as the Congolese soldiers that had fought with the French in Paris came home dressed as dandies.

French Colonialists with indigenous Congolese men.

            Andre Grenard Matsou – one of the most influential figures in Congolese politics – is often sited as a the original Sapeur. Matsou was a revolutionary, fighting for human rights and freedom from the colonial reign. Having spent time working in Paris he returned in 1922 as the first Colgolese to dress as an authentic Frenchman, not in traditional African robes. Whilst initially this provoked uproar, it was soon followed by admiration.

            Following the countries’ independence in 1960 Joseph Mabutu assumed power, attempting to stop the spread of imitators by implementing a strict non-western dress code. Papa Wemba, a Congolese singer, sought to challenge the status quo “not vocally, but visually”, dressing himself and his band Viva La Musica in the French inspired tailoring. It was Wemba who first came up with the acronym SAPE. Following his example, the Sapeurs used their appearance as an act of rebellion. Representative of the freedom of expression, Sapeur style has continued to attract huge numbers of followers. 

Papa Wemba (centre) and Viva La Musica