They are attempting to “make beauty from their real, if once unseen, reflections”, says Sirsargent, curator of an exhibition at the Saatchi Gallery about this new generation of black fashion photographers
Nadine Ijewere observed the way that the women around her dressed. The neighbourhood “aunties”, as all older women were known, paired Nigerian patterns with Gucci handbags and Burberry motifs; they wouldin a way that was almost sculptural. Ijewere was interested in fashion photography, but she began to notice that
: Nadine Ijewere shoots in ethereal locations. Ijewere’s photo series “Tallawah” celebrated black hair. Ijewere casts her own models, with a focus on mixed-race individualslmost 50 years before Ijewere’s “auntie” shoot, another black photographer, Armet Francis, took a photograph in Brixton, a neighbourhood not far from Peckham. In the picture, a stylish young black woman wearing a lilac suit leansan umbrella in hand.
In the 1960s, he moved away from the fashion industry towards a lifelong project: documenting the experiences of the African diaspora in the Americas and Britain. He had been struck by the fact that one rarely saw black people featured in magazines, beyond reports about famines in Africa.“to me, they are home pictures,” he said.and discrimination against them was common. James Barnor, one of Francis’s contemporaries, only attained mainstream recognition as an octogenarian.
As a child, Addy moved from Ghana to south London. For a while after his arrival, his new friends would make fun of his accent. Eventually, the accent disappeared, but the feeling of difference remained. He was also frustrated when he visited Ghana: he didn’t know Twi, the main language spoken in Accra, well enough and couldn’t quite grasp the cultural nuances.
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