“It is our way of life and not just the dressing,” he continues. “ It is how we express our individuality and our character. Along with our families, Le Sap, is our reason for being.”
Cavory is part of a group of ‘sapeurs’ who emanate from, Brazzaville, the capital of The Republic of The Congo (AKA The French Congo or Congo- Brazzaville) and are the subject of a new, mainly photographic tome, The Gentlemen of Bakongo – The Importance of Being Elegant, by Italian snapper Daniele Tamagni.
Self-confessed dandies, Le Sapeurs, have taken the genteel art of dressing to its illogical conclusion. This particular group of sapeurs enjoy a style whose roots lie in salons of Paris of the twenties but is accomplished in tones bright enough to make one’s eyes smart. Indeed, the aforementioned, Sapologists, knowingly juxtapose symbols of glut, more in common with a seventies black Chicago pimp, against their impoverished shanty towns with astounding aplomb- spending a lot more money on their clothing than on their homes.
Eminent Sapeurs show greenhorn, Sapeurs, the ropes: how to behave socially, how to perfect their decorum and maintain their propriety, how to dress, how to talk, how to walk. Exalted by their community, Le Sapeurs are treated like out-and-out celebrities and wallow in the warmth of exaltation like the poseurs they indubitably are. Often paid to attend weddings, funerals and anniversaries their role is to confer events with a certain je n-est sais quoi that, inherited from an infinitely more courteous age, is entirely deficient in this the 21st Century
‘The SAPE began when the Congo was a French colony,” clarifies Tamagni. “Many Congolese people were fascinated with French sophistication and decided to emulate the French mode, and their style was further developed during the shift to independence. In the seventies and the eighties, many Congolese immigrants went to France and on their return to Brazzaville brought back ‘the cult of elegance.’”
Indeed, many sapeurs, such as KVV Mouzieto (who works on the Paris Metro but comes back to Brazzaville every summer) believe in the “Matsoua” religion that instigated by Congolese intellectual, Andre Grenard Matsou -who lived for a period in Paris and worked for the French army- lies at the core of Le Sape. A man with a mission, Matsou fought for human rights and freedom from the colonial powers and as such achieved fame as a revolutionary, prophet and consequently- a national hero. Known as the first ‘Grand Sapeur’, he was said to have returned from Paris in 1922 and, as the first Congolese to dress as an authentic Frenchman and not in trad African robes, initially caused indescribable uproar among his fellow countrymen followed by subsequent admiration.
“To go to Paris- the capital of fashion – is historically the dream of a Sapeur,” informs Tamagni. “ This is where they would all like to go one day. Some succeed in obtaining a visa but for others it remains an improbable ideal. Sapeurs all have the same dream: to go to Paris and return to Brazzaville as an aristocrat of ultimate elegance.”
What all Sapeurs have in common is tons of bling dripping from every compartment while the obligatory Cohiba cigar remains unlit.
Today, the cult has in true African fashion taken the principal and, using what is at their disposal, twisted the ethic to create something entirely their own. “The Sape is most definitely an art,” stresses premier league sapeur Hassan Salvadore the respected leader of The Piccadilly Group of Bakongo. “I learned how to dress from my father, [the famous Sapeur Hassan Malanda] but also by observing how television news presenters dress. It is always different for each individual. “
“The cigar is the symbol par excellence of the sapeur,” states sapeur, Hassan Salvadore. “The cigar is expensive and has a very important role because it gives value to the suit worn, although it has to be used carefully as a gentleman sapeur is always expected to ask his neighbour, even if he is not in a non smoking area, if he may light his cigar. The cigar is a symbol therefore of excellence and refinement. It is the tool of the Gentleman.”
“The Sape is an art and real gentleman have to know the concept of gentleness and good manners related to the inherent moral code of the individual,” affirms Tamagni. “ This is why, for these reasons, some famous Sapeurs with a certain culture, experience and refined manners teach those who want to become Sapeurs how to dress and how to behave in a social context. It is more significant to know the rules of elegance than have a Dior or a Versace outfit and not know how to dress.”
Most Sapeurs are Catholic and attend church regularly, dressed to the nines, their ‘do unto others’ attitude in keeping with a profound, and many might say ‘refreshing,’ interpretation of the New Testament. “In my book you will see a picture of a priest in military uniform,” states Tamagni. “He is the priest of the Sapeurs and as he told me: “I dress like a sapeur because the sapeur is a good reflection of God. We respect other people, we don’t like war, we like peace and we have a moral code that is very Christian.’ This is very important for the Brazzaville sapeurs.”
Of course such moral high ground has attracted the attention of the government who have attempted to use the group to their own ends. During the celebration of independence last year the authorities invited Le Sapeurs to attend (and thus support them) because, held high esteem, they add glamour, sophistication and positivity to any event. But many sapeurs declined the invitation. As Tamagni attests “A real sapeur is a revolutionary and many do not want to align themselves to any party because tomorrow there might be another election or even a coup and they want to remain totally autonomous.”
Yet, hanging out in the bars of Brazzaville such as the Baba Boum, Le Sape do what guys do – they drink, talk and dance to the Cuban rhythms of Rumba and Charanga, which originated in the Congo and were re-imported from Cuba in 1940’s and 50’s and still dominate the dance floors. Occasionally Le Sapeur hold exhibitions in which they, just as their Parisian counterparts, challenge each other to stylistic jousts or throw downs – their armaments or moves being a Panama hat, a bow tie or even a pair of socks. “ Braces from Jermyn Street, England,” one might say as he opens his purple jacket,” “ Orange tie with matching socks, handkerchief and pants. Beat that!” might call another with a spin.”
“The white man might have invented clothes,” concludes Brazzaville Congolese musician King Kester Emeneya modestly. “But we have turned it into an art.”
at the blatant mark of colonization and cultural assimilation, 
at them clothes or just 
at the insane swag levels.
