Vanichi Magazine partners with The Africa Channel to present “What If Movie Icons Wore African Fashion?” (#WIMIWAF), a creative fashion editorial that imagines iconic Hollywood film characters in modern, handcrafted fashion from designers of Africa and the Diaspora.
Designers include Senegal-based brand SARAYAA, TEGAA, a Gambia-based jewelry line, Egyptian designer AMMANII, M ANDREWS sartorial luxury based in San Antonio, Texas, Nigerian brand OBIOMA, eyewear designer BURKINABAE, menswear designer KENNETH NICHOLSON, Ghana + NYC brand STUDIO ONE EIGHTY NINE (co-founded by Rosario Dawson), Sierra Leone + USA brand BADARA and Lagos-based luxury brand MINKU. More at vanichi.
PHOTO: Juhn Kwon. HAIR + MAKEUP: Karen Bates-Ashey. STYLIST: Jordan Swain. ASSISTANT STYLIST: Drea MJ. CREATIVE DIRECTORS: Joy Donnell + Jordan Swain.
Keith Richards, 1971, by Robert Altman. After being seen on the cover of Rolling Stone, this photo was on t-shirts, and in the hands of every teenaged boy and girl in every American barber and beauty shop in the land: “Cut mine like THIS!” (Patti Smith famously cut her hair in this style with her own scissors at home.)
We haven’t categorized ourselves. And I don’t think we’ve thrown ourselves at the public as much as a lot of other people who say they haven’t—we don’t put ourselves in the way of glory. But three years is such a short time to start making any grand assessment. We’ve had the opportunity to be superduper incredible stars, and we could have lived on that much more than we have done, but I think it’s just a case of holding back all the time, because if you take the reins that are given to you, you end up destroying yourself—overdoing it, over playing it, over living it, and suddenly finding out that the things from your past don’t fit in at all with what you’re doing now. Therefore it’s much better for me to go home and be as I have been for years and years and years, than make some new being out of myself…
—Robert Plant (Rock Magazine, August 1971)
“While Jagger was teasing sex-provocateur — youth at its most decadent — Anderson suggested total depravity and filth-society at its lowest ebb. His hair a wild, matted mane, his clothes a cross between an embankment tramp and a raggle Errol Flynn, Anderson on stage could have stepped out of society’s worst nightmare: the one who wouldn’t be pushed into a corner – a demented degenerate totally lacking any sense of moral decency.” ~ “A Tull Story”, NME, July 1, 1972