Dior Men collection directly opposite the new Rubell Museum: a gargantuan labyrinth of industrial warehouses transformed into a staggering temple to contemporary art. The first artist-in-residence there, whose large-scale, mesmerisingly textural portraits of Black subjects filled an entire room, was the Ghanaian painter Amoako Boafo.
Seeing the pieces worn is somewhat like watching art in motion, observing the figures depicted in Boafo’s world come to life. In an industry that regularly appropriates Black culture without naming its references, often wilfully obfuscating origins and original creators, Boafo and his subjects appear centre stage.
“I love fashion and I tend to look at characters who have a sense of style,” explaines Boafo in the newly released Dior film which explores his practice. “The interesting part, for me, of working with a fashion house is how they were able to transfer my finger painting technique onto clothes.” “You have a Breton stripe underneath an Amoako print so it’s a French, Ghanaian, Dior, Amoako vibe, all existing together,” continues Jones. “It’s an exchange.
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