When he's in town, you have to lock up your sons, daughters, wives, mother, father, and yourself because his power of seduction is so great. Think Prince during his Dirty Mind (Warner Bros., 1980) phase and you get the general idea.
Fear, according to Miller, continues to generate a serious backlash in reaction to the idea let alone reality of true equality for black people in the west. Images of black cork minstelry that lampoon the black dandy's aspirations have been around as long as the black dandy. From Zip Coon and Jim Dandy in the early 19th century to present-day manifestations in popular culture, ambivalence a tool of the black dandy has served as a double-edged sword. Exactly when and where does "stylin' out" become "coonin'"? If W.E.B. Du Bois, the quintessential black dandy, couldn't figure it out, I'm not sure that I can find a definitive answer.
Slaves to Fashion rediscovers its footing in exploring the nature of "otherness." Returning from investigations of the black dandy's lineage to note his role in contemporary art and culture, Miller shines a light on filmmaker Isaac Julien, editor and photographer Iké Udé, visual artist Yinka Shonibare, and beyond. In the process, she answers a variety of questions regarding what a black dandy is and does. Ultimately, the black dandy's problem is an AfroSurreal one: by perpetrating these "crimes of fashion," by avoiding and exploding pat definitions of blackness, masculinity, and sexuality, he occupies a realm outside convention, and all too often, recognition. It is from these murky waters of post-postmodernity, I believe, that the black dandy brings a message for us all.
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