The Nigerian photographer embraces the ancient Yoruba style

The Nigerian photographer embraces the ancient Yoruba style

written by Helen Jennings, CNN

In his latest project, Nigerian photographer Oy Dieran looked at his family’s old pictures for inspiration. It was especially captured with the elegant clothes her parents wore, including his mother in classic Nigerian attire and bupa style (wrapped skirt and top designer) – often paired with my generation (headdress).

“I was touched by how attractive and attractive these clothes are and reminded me of how comfortable my father and friends were when I was little,” Diran wrote by email from where he now lives in New York. “The importance of iro and buba does not dissipate over time, so I came up with this story to highlight the heritage beauty of the world.”

Diran went to research more pictures from Nigeria in the 1960s to the 1980s, before recreating the same old feeling of “A Ti De” (“We Have Come”), featuring pictures of three women dancing, and having fun. “It is known that the Yoruba people find no reason to wear and celebrate,” he said, referring to the second largest ethnic group in Nigeria. “Traditional weddings, for example, are an opportunity to wear the finest types of aero and popa, add accessories and show off,” he said.

From “A Ti De” photo series credit: Oye Diran

From the optimism that followed independence from Britain in 1960, through a devastating civil war and subsequent military coups, the period this project derives was a seismic and formative period for Nigeria. This was reflected in the cultural scene and ideas about dress in the country. While Villa Coty Instigated by the rebellion and the movement of African unity, the more elegant Lagos residents blended local fashion with western silhouettes. This speaks to today’s Nigerian photo makers, who rely on the past to comment on the new colonialism and redefine black beauty, such as Lakin OgunbanwoAusai dung and Diran.
From the series Diran

From the series “Deran” TD credit: Oye Diran

Deran originally studied business and worked on producing events before finding a call as a photographer a decade ago. He taught himself skill and continued to refine a simple yet warm aesthetic, quoting famous West African photographers. JD J Okhai Ojeikere, Sidibe’s owner Sidu Keita As effects. “These myths portrayed excellence in their culture. I am inspired by the specific designs, conceptual situations of their images.”
From the series Diran

From the series “Deran” TD credit: Oye Diran

The famous Ogikire Archive documenting sophisticated hairstyles and headdresses for Nigerian women not only resonates in “A Ti De”, but the ongoing Diran series “Gele”, which captures royal mothers in luxurious environments with elaborately restricted headdresses that act as crowns . “The series started in 2017 as a way to explain the symbolic meaning of gel and to express the splendor of African women,” he said.

From the ongoing series of Diran

From the ongoing series Deran “Gele” credit: Oye Diran

Diran fashion and art images appeared in both Vogue Italia and Afropunk, and his work was included at a United Nations exhibition in 2018. This year, his portrait “Makub”, which features the delicate face of the woman and her hands in infinite pastel color and won the LensCulture Exposure Award. “Maktoob is an Arabic word meaning” Maktoob. “It is an idea that our destinies are pre-planned but still to be pursued,” he said.

The picture this year

This year, “Two Cube” photos of two countries won the LensCulture Exposure Award. credit: Oye Diran

Since her debut in March on a global African media platform NatalDiran has received many responses to “A Ti De”, his nostalgic appeal. “The reactions were very positive from Nigerians at home and across the diaspora,” he said.

“People have expressed the pride, inspiration and empowerment that the project has given them.” This is linked to Diran’s wider sense of duty in creating images that speak of a positive African perspective.

“I want to continue imparting the essence of African or black ideologies while breaking the wrong stories about these cultures,” he said. “I want to be part of the global power that illuminates culture from the diaspora perspective. Most importantly, tell the many facts that are often ignored and silenced. I feel our collective responsibility as African photographers is to do so.”

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