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The African Lookbook: A Visual History of 100 Years of African Women
An unprecedented visual history of African women told in striking and subversive historical photographs--featuring an Introduction by Edwidge Danticat and a Foreword by Jacqueline Woodson.
Most of us grew up with images of African women that were purely anthropological--bright displays of exotica where the deeper personhood seemed tucked away. Or they were chronicles of war and poverty--“poverty porn.” But now, curator Catherine E. McKinley draws on her extensive collection of historical and contemporary photos to present a visual history spanning a hundred-year arc (1870–1970) of what is among the earliest photography on the continent. These images tell a different story of African women: how deeply cosmopolitan and modern they are in their style; how they were able to reclaim the tools of the colonial oppression that threatened their selfhood and livelihoods.
Featuring works by celebrated African masters, African studios of local legend, and anonymous artists, The African Lookbook captures the dignity, playfulness, austerity, grandeur, and fantasy-making of African women across centuries. McKinley also features photos by Europeans--most starkly, striking nudes--revealing the relationships between white men and the Black female sitters where, at best, a grave power imbalance lies. It's a bittersweet truth that when there is exploitation there can also be profound resistance expressed in unexpected ways--even if it's only in gazing back. These photos tell the story of how the sewing machine and the camera became powerful tools for women's self-expression, revealing a truly glorious display of everyday beauty.
Most of us grew up with images of African women that were purely anthropological--bright displays of exotica where the deeper personhood seemed tucked away. Or they were chronicles of war and poverty--“poverty porn.” But now, curator Catherine E. McKinley draws on her extensive collection of historical and contemporary photos to present a visual history spanning a hundred-year arc (1870–1970) of what is among the earliest photography on the continent. These images tell a different story of African women: how deeply cosmopolitan and modern they are in their style; how they were able to reclaim the tools of the colonial oppression that threatened their selfhood and livelihoods.
Featuring works by celebrated African masters, African studios of local legend, and anonymous artists, The African Lookbook captures the dignity, playfulness, austerity, grandeur, and fantasy-making of African women across centuries. McKinley also features photos by Europeans--most starkly, striking nudes--revealing the relationships between white men and the Black female sitters where, at best, a grave power imbalance lies. It's a bittersweet truth that when there is exploitation there can also be profound resistance expressed in unexpected ways--even if it's only in gazing back. These photos tell the story of how the sewing machine and the camera became powerful tools for women's self-expression, revealing a truly glorious display of everyday beauty.
240 pages, Hardcover
First published January 19, 2021
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January 28, 2021
The African Lookbook - A Visual History of 100 Years of African Women is a sampling of the photographs author Catherine E. McKinley has managed to collect from all around the world and includes some of the earliest photographs ever taken of African women.
However this isn't just a book of photographs to peruse. McKinley educates the reader along the way on the styles of photographs and portraits, the importance of the sitter's dress and fashion, the interest in African women and some of the undesirable attitudes of the intended recipients of many of the photographs featured.
"In European studios spanning the 1860s to 1970s, images of African women existed as a preponderance of exotica in 'women's work' - women nursing children, pounding food with mortar and pestle, selling on the street, carrying water, or posing in front of the 'primitive' home. Cameras fixated on breasts and hair, on body cicatrization, and the suggestive and even pornographic possibilities of rites of puberty, polygamy, and lightly disguised prostitution.
Many African photographers working at the same time would engage these tropes, as would later eras of African photographers (1950s - present), revisiting the images of a woman's back or skin or hairstyle but in a way that, however much a male gaze still mediated, the colonial gaze was removed." Page 31
"That gaze - that moment when the sitter meets the lens with the intent to author, or perhaps where coercion, or capitulation, or shyness or some other feeling is revealed - is what we look to for a countering narrative to the photographer's, or for assurance that the sitter still has the last word." Page 32
I'll admit to wanting to see that in the eyes of many of the women photographed, a sense of power or pride and a sense the sitter wouldn't be exploited. A refusal to be dominated, their spirit free and intact. Unfortunately, I think I'm projecting a resoluteness that might not be there in order to make myself feel better about the vulnerability or poverty the sitter might have experienced. It's interesting to ponder though. Is the viewer projecting, or is the sitter really communicating something of their spirit and their inner most thoughts to us through the lens of the camera and down the decades?
I wasn't expecting the focus and accompanying commentary on fashion and what the women were wearing in the photographs and it took me by surprise.
"The history preserved in fashion can be more resilient and revealing than what is stored or memorialized in other kinds of repositories." Page 86
Fashion throughout the decades encompassed the combination of traditional dress with styles that indicated a woman's background or religious beliefs and was invariably captured in the portraits (many unknown) obtained by the author and preserved in her collection.
I had little idea about the prominence of cloth and wrappers to African women, but learned that wrappers - referred to in the book as the 'foundation of African womanhood' on page 96 - are used for multiple purposes, including clothing, to carry a child, as currency, as a dowry, a shroud and sometimes even joined together to celebrate, protest or mourn. Some cloth designs are given a name and women or families might wear the same pattern to make a statement.
"Cloth that is beloved, that is named, is considered fine enough to be a dowry item, to be worn at weddings and funerals and baby-naming ceremonies, to become a 'heritage' item in a woman's cloth box and therefore a costly commodity for the ages, historically stored and respected like money, never devaluing over a woman's life-time." Page 92
Already upset by the popularity of fast fashion in the 21st Century, this certainly gave me something to think about. If women from cultures around the world could aspire to this level of value and respect for cloth and quality made garments again (I'm thinking of 1500s here), imagine the impact around the world.
The African Lookbook by Catherine E. McKinley isn't what I expected. Yes, it's A Visual History of 100 Years of African Women, but I was disappointed not to see any of the photography of African women I observed as a child growing up in Australia in the 1970s-1980s. Stunning photographs of African women featured in National Geographic magazine, adorned in body paint, or wearing lip discs or gold neck rings and arm bands. An exotic beauty unmatched anywhere in the world gave rise to the fear of colonisation and a sorrow for the ruination of small tribes and villages still practising their way of life largely oblivious to the Western world.
I understand this book to be based on the author's painstaking collection of rare and precious photographs that otherwise might have been lost to time, but surely this era of colour photography shaped the worldwide view of African women and deserved to be included or commented on here. Looking at the blurb while writing this review, I note that the 100 year arc spans from 1870-1970 but I dearly wish it had been expanded to incorporate 150 years. It'd be hard to do so if the author's expertise and interest doesn't extend to the last 50 years, but the average reader has likely been exposed to this photography and it has influenced our views, rightly or wrongly.
While I didn't get what I was expecting, I certainly walked away with more than I bargained for. An introduction to the trade and importance of indigo - one of the most financially and culturally valuable commodities, used in makeup, hair dye, body paint, tattooing and more - for one.
The African Lookbook by Catherine E. McKinley is an informative read, and I longed to speak to the women featured in each of the photographs as I looked into their eyes and wondered about their lives; just as I imagine the author does.
* Copy courtesy of Bloomsbury *
However this isn't just a book of photographs to peruse. McKinley educates the reader along the way on the styles of photographs and portraits, the importance of the sitter's dress and fashion, the interest in African women and some of the undesirable attitudes of the intended recipients of many of the photographs featured.
"In European studios spanning the 1860s to 1970s, images of African women existed as a preponderance of exotica in 'women's work' - women nursing children, pounding food with mortar and pestle, selling on the street, carrying water, or posing in front of the 'primitive' home. Cameras fixated on breasts and hair, on body cicatrization, and the suggestive and even pornographic possibilities of rites of puberty, polygamy, and lightly disguised prostitution.
Many African photographers working at the same time would engage these tropes, as would later eras of African photographers (1950s - present), revisiting the images of a woman's back or skin or hairstyle but in a way that, however much a male gaze still mediated, the colonial gaze was removed." Page 31
"That gaze - that moment when the sitter meets the lens with the intent to author, or perhaps where coercion, or capitulation, or shyness or some other feeling is revealed - is what we look to for a countering narrative to the photographer's, or for assurance that the sitter still has the last word." Page 32
I'll admit to wanting to see that in the eyes of many of the women photographed, a sense of power or pride and a sense the sitter wouldn't be exploited. A refusal to be dominated, their spirit free and intact. Unfortunately, I think I'm projecting a resoluteness that might not be there in order to make myself feel better about the vulnerability or poverty the sitter might have experienced. It's interesting to ponder though. Is the viewer projecting, or is the sitter really communicating something of their spirit and their inner most thoughts to us through the lens of the camera and down the decades?
I wasn't expecting the focus and accompanying commentary on fashion and what the women were wearing in the photographs and it took me by surprise.
"The history preserved in fashion can be more resilient and revealing than what is stored or memorialized in other kinds of repositories." Page 86
Fashion throughout the decades encompassed the combination of traditional dress with styles that indicated a woman's background or religious beliefs and was invariably captured in the portraits (many unknown) obtained by the author and preserved in her collection.
I had little idea about the prominence of cloth and wrappers to African women, but learned that wrappers - referred to in the book as the 'foundation of African womanhood' on page 96 - are used for multiple purposes, including clothing, to carry a child, as currency, as a dowry, a shroud and sometimes even joined together to celebrate, protest or mourn. Some cloth designs are given a name and women or families might wear the same pattern to make a statement.
"Cloth that is beloved, that is named, is considered fine enough to be a dowry item, to be worn at weddings and funerals and baby-naming ceremonies, to become a 'heritage' item in a woman's cloth box and therefore a costly commodity for the ages, historically stored and respected like money, never devaluing over a woman's life-time." Page 92
Already upset by the popularity of fast fashion in the 21st Century, this certainly gave me something to think about. If women from cultures around the world could aspire to this level of value and respect for cloth and quality made garments again (I'm thinking of 1500s here), imagine the impact around the world.
The African Lookbook by Catherine E. McKinley isn't what I expected. Yes, it's A Visual History of 100 Years of African Women, but I was disappointed not to see any of the photography of African women I observed as a child growing up in Australia in the 1970s-1980s. Stunning photographs of African women featured in National Geographic magazine, adorned in body paint, or wearing lip discs or gold neck rings and arm bands. An exotic beauty unmatched anywhere in the world gave rise to the fear of colonisation and a sorrow for the ruination of small tribes and villages still practising their way of life largely oblivious to the Western world.
I understand this book to be based on the author's painstaking collection of rare and precious photographs that otherwise might have been lost to time, but surely this era of colour photography shaped the worldwide view of African women and deserved to be included or commented on here. Looking at the blurb while writing this review, I note that the 100 year arc spans from 1870-1970 but I dearly wish it had been expanded to incorporate 150 years. It'd be hard to do so if the author's expertise and interest doesn't extend to the last 50 years, but the average reader has likely been exposed to this photography and it has influenced our views, rightly or wrongly.
While I didn't get what I was expecting, I certainly walked away with more than I bargained for. An introduction to the trade and importance of indigo - one of the most financially and culturally valuable commodities, used in makeup, hair dye, body paint, tattooing and more - for one.
The African Lookbook by Catherine E. McKinley is an informative read, and I longed to speak to the women featured in each of the photographs as I looked into their eyes and wondered about their lives; just as I imagine the author does.
* Copy courtesy of Bloomsbury *
September 23, 2020
After 150 years of photography of African women being used for titillation, mockery and other ugly goals, this fascinating book compiles historic pictures of African women from 1870–1970 that instead celebrated who they really were. It's full of striking portraits and informative text about this complicated history. While the continent of Africa has many countries, most of these women are from a handful of them and give a glimpse into these countries' fashions, traditions, cultures and more. The author is African American and Jewish, and works hard to incorporate respectful photos that really show the souls of these women of all ages.
I read a temporary digital ARC of this book for review.
I read a temporary digital ARC of this book for review.
December 22, 2021
I found this book to be both visually stunning and educational. The author did a wonderful job of walking those of us who are not knowledgeable in fashion through what is shown and can be learned in each photograph. I feel like I learned more from this book than a previous class on African History.
This unbiased review is based on a complimentary copy provided by the publisher.
This unbiased review is based on a complimentary copy provided by the publisher.
July 9, 2022
As a big fan of both photography and history, I found this a fascinating "read," (in quotes, since the photos are more powerful than the text). In contrast to the usual exploitative and subliminally pornographic Western images ranging from colonial times through early Nat Geo, the photos shown here depict African women as seen (mainly) by fellow Africans, and as such present a stunning "lookbook" of a truly beautiful assortment of women.
I'm a 60+ American white guy, and as such will never be completely free of racial and historical influences, (i.e., prejudices). But I'm working on it, and books like this are a huge help. Thanks, Catherine!!
I'm a 60+ American white guy, and as such will never be completely free of racial and historical influences, (i.e., prejudices). But I'm working on it, and books like this are a huge help. Thanks, Catherine!!
January 17, 2021
I found myself questioning the way I view images of African women I grew up with and appreciate this book for that. The historical context was also fantastic.
July 14, 2021
I have to come clean: I did not read every word of this book before my ILL term expired. I do want to read it all because my first pass through was very interesting.
March 10, 2021
It's hard to put into words what I loved about this book. The post script about the expense of colour photography, the attention to how cloth and fashion were injected with colonialism, how Western countries still overtake the continent with colonialism through secondhand clothes, the blunt exploration of bare flesh and female power and/or hierarchy. So much to dive into!
One aspect I've heard about before but still want to research: the impact of the secondhand market in Africa. How our castoffs (for lack of a better term) overwhelm the local textile and clothing trade, so the history's lost. Is there another Ghanaian phrase beyond obruni wawu (the white man has died) to the white man doesn't care?
If anyone knows of books like this that look at the social/cultural/colonial impact of fashion, please send them my way.
One aspect I've heard about before but still want to research: the impact of the secondhand market in Africa. How our castoffs (for lack of a better term) overwhelm the local textile and clothing trade, so the history's lost. Is there another Ghanaian phrase beyond obruni wawu (the white man has died) to the white man doesn't care?
If anyone knows of books like this that look at the social/cultural/colonial impact of fashion, please send them my way.
October 30, 2020
Thank you Bloomsbury for the ARC!
So often, in the West, there is a concept that Africa is an “other” place - one so different from their own. This photo collection is the beginning of a long overdue movement to correct this imperial narrative. Through this small collection of photos, McKinley leads the reader through history, fashion, and other cultural elements of African nations. You’ll learn so much from this brief read - you’ll want to go back and read it again and again! As a person who loves old photos, this is a priceless book. Bringing history to life, seeing women who are smiling and relentlessly taking charge of their own lives, is empowering.
So often, in the West, there is a concept that Africa is an “other” place - one so different from their own. This photo collection is the beginning of a long overdue movement to correct this imperial narrative. Through this small collection of photos, McKinley leads the reader through history, fashion, and other cultural elements of African nations. You’ll learn so much from this brief read - you’ll want to go back and read it again and again! As a person who loves old photos, this is a priceless book. Bringing history to life, seeing women who are smiling and relentlessly taking charge of their own lives, is empowering.
Want to read
July 9, 2020Note: I accessed a digital review copy of this book through Edelweiss.
January 20, 2024
Appreciated changing the narrative by thoughtfully sharing photos of African women and the accompanying commentary on colonialism and gender
September 1, 2024
A fascinating look at professional portraits of African women through history, taking out the
Male gaze, European gaze, white gaze. The woman who curated and explained the collection does an excellent job. The history around the photos was thorough and interesting.
This book was read for my "Black Art and Artists" square for my library's book bingo.
Male gaze, European gaze, white gaze. The woman who curated and explained the collection does an excellent job. The history around the photos was thorough and interesting.
This book was read for my "Black Art and Artists" square for my library's book bingo.
January 26, 2023
On paper (no pun intended), this book should have been perfect for me. I have an interest in [non-western] fashion, photography and [colonial] history (especially the amalgam of the three). This book explores the unfamiliar in a familiar space. There were a lot of things about African fashion and photography that I didn’t know about that were eye-opening. The photographs were interesting, and McKinley gives us a lot of context to read into them. But, there was something about the writing style that made the text inaccessible and tedious. I couldn't hold onto any facts for long. Sometimes, the description of the attire that preceded the photograph was impressive, but the photograph was underwhelming. And some other times, even though she rejects fetishization, she couldn't fully avoid it.
In the end, it felt like conveyor belt sushi, with lots of attractive things moving past you quickly. They are all served in small portions, and you find satisfaction in the few items you choose, and make it more about the unique dining experience. It's a valuable book, and I am sure to refer to it (and the books in the bibliography) again. But, it could have been fleshed out more and edited better.
In the end, it felt like conveyor belt sushi, with lots of attractive things moving past you quickly. They are all served in small portions, and you find satisfaction in the few items you choose, and make it more about the unique dining experience. It's a valuable book, and I am sure to refer to it (and the books in the bibliography) again. But, it could have been fleshed out more and edited better.
August 19, 2021
It is obvious a lot of passion and care went into the creation of this book. The collection of photographs is stunning, and the explanations of the clothing, patterns, fashion, and accessories that appear in the book are detailed and well-researched. The significance and meaning that the subjects convey through their dress was interesting, and it was eye-opening to see how that changed throughout history. In my opinion, the author accomplished her goal of capturing "the dignity, playfulness, austerity, grandeur, and fantasy-making of African women across the centuries" [per the book's description on the inside front cover].
November 11, 2025
A collection of lovingly curated photos showcasing roughly 100 years of African fashion through historical plates reproduced for the the book. There was text along with each photo or collection of similarly themed photos providing context for things like the importance of fabric, jewelry placement, etc.
I very much appreciated the glimpse of history and other cultures shared in these photos, and the way the text highlighted elements I wouldn’t have known to look for. It was just an introduction, barely scratching the surface of everything going on in those tumultuous times. Definitely left me wanting to know more about the topics mentioned.
I very much appreciated the glimpse of history and other cultures shared in these photos, and the way the text highlighted elements I wouldn’t have known to look for. It was just an introduction, barely scratching the surface of everything going on in those tumultuous times. Definitely left me wanting to know more about the topics mentioned.
February 19, 2021
Fascinating look at photography and fabric in Africa during the 19th and 20th centuries.
From the Preface
Reading this book was a virtual museum day during this pandemic. I appreciate the author's collection and the work she has done to notate the history behind the photographs.
From the Preface
For African Women across the continent, many of the most powerful but less remarked upon modern legacies were born of the sewing machine and the camera...steadfast instruments that offered a powerful means to author one's own life.
Reading this book was a virtual museum day during this pandemic. I appreciate the author's collection and the work she has done to notate the history behind the photographs.
September 16, 2020
Evocative and stirring. One does not often considered pictures when thinking of the soul. The pictures within this book provide glimpses into the souls of those captured within. There are stories accompanying each photo can vary in length and depth. The true prize are the photos. There are some slanderous words used by the photographers and some intimate shots of women that can be unsettling. The book is a jewel.
May 17, 2021
McKinley's been collecting photographs of African women. This is "The McKinley collection," which she refers to a LOT, while also commenting on the photographs and setting them in the context of colonization and white objectification.
Her voice seems a little pretentious, but the photos themselves are often of really beautiful women and interesting fashion. There are some troubling ones of naked women, fetishized.
Her voice seems a little pretentious, but the photos themselves are often of really beautiful women and interesting fashion. There are some troubling ones of naked women, fetishized.
February 15, 2021
This might have been more interesting if I was more into art and photography. I guess I'm just not passionate enough to interpret artworks, so while I enjoyed learning the history and background of these photographs, I tuned out a bit when the interpretations got deeper. If art and African art in particular are your passion, this would be a winner for you!
December 6, 2021
The African Lookbook: A Visual History of 100 Years of African Women offers a very interesting look into the history, culture, and traditions surrounding photography in Africa from 1870-1970. The photos themselves are striking and often times moving, and I really enjoyed the accompanying text throughout the book (in particular the bits about the different fashions and their importance).
November 30, 2025
Rating pg 13 photographic nudity. Some cultural, but some has a definite feel of the pornographic, titillating to western eyes, which is one of the points the author is making.
Recommend: history, African in particular
I really enjoyed this book, all the talk of fabrics and colors and whatnot all means… good stuff but a very niche buy : not for our little library.
Recommend: history, African in particular
I really enjoyed this book, all the talk of fabrics and colors and whatnot all means… good stuff but a very niche buy : not for our little library.
January 10, 2021
The women in these photos are beautiful and haunting. There is every facial expression imaginable represented. The essays and explanations do a lot to bring them to life in a new way. I went through once admiring the photos and then again while reading the captions and essays. Highly recommend for anyone interested in photography, Black history, African history, women’s history, fashion, and anyone with eyes.
Thanks to the publisher for the ARC.
Thanks to the publisher for the ARC.
Read
December 29, 2024“African women dress for their own spirit, their god or ancestors, for custom, for each other, to speak socially. Men are trapped in the crosshairs. Wax is about women’s power and life’s vicissitudes.”
March 14, 2021
Beautiful and fascinating. I read the whole book in one sitting, engrossed in the history and photos.
April 13, 2021
Fascinating and beautiful. I will refer to it often so I’m buying it today from my local bookseller.
August 25, 2021
This book is fantastic. Good historical content and information.
Read
September 6, 2021This is wonderful. Should be required reading. just excellent.
January 24, 2022
Excellent history lesson and the photos of these women are beautiful! Great way to welcome in Black History Month.
June 30, 2022
Look Book
The African Look Book disproves that only fair sinned period were beautiful. It affirm the knowledge that we are, and continued to be the apple of our Fathers eye.
The African Look Book disproves that only fair sinned period were beautiful. It affirm the knowledge that we are, and continued to be the apple of our Fathers eye.
March 27, 2021
Just kinda boring. Most of the book is black-and-white or sepia pictures of African women, some topless and partial nude. It's just not that interesting to me.
December 26, 2021
The African Lookbook: A Visual History of 100 Years of African Women
by Catherine E. McKinley Published January 19, 2021
An unprecedented visual history of African women told in striking and subversive historical photographs—featuring an Introduction by Edwidge Danticat and a Foreword by Jacqueline Woodson.
Most of us grew up with images of African women that were purely anthropological—bright displays of exotica where the deeper personhood seemed tucked away. Or they were chronicles of war and poverty—"poverty porn." But now, curator Catherine E. McKinley draws on her extensive collection of historical and contemporary photos to present a visual history spanning a hundred-year arc (1870–1970) of what is among the earliest photography on the continent. These images tell a different story of African women: how deeply cosmopolitan and modern they are in their style; how they were able to reclaim the tools of the colonial oppression that threatened their selfhood and livelihoods.
Featuring works by celebrated African masters, African studios of local legend, and anonymous artists, The African Lookbook captures the dignity, playfulness, austerity, grandeur, and fantasy-making of African women across centuries. McKinley also features photos by Europeans—most starkly, striking nudes—revealing the relationships between white men and the Black female sitters where, at best, a grave power imbalance lies. It's a bittersweet truth that when there is exploitation there can also be profound resistance expressed in unexpected ways—even if it's only in gazing back. These photos tell the story of how the sewing machine and the camera became powerful tools for women's self-expression, revealing a truly glorious display of everyday beauty.
by Catherine E. McKinley Published January 19, 2021
An unprecedented visual history of African women told in striking and subversive historical photographs—featuring an Introduction by Edwidge Danticat and a Foreword by Jacqueline Woodson.
Most of us grew up with images of African women that were purely anthropological—bright displays of exotica where the deeper personhood seemed tucked away. Or they were chronicles of war and poverty—"poverty porn." But now, curator Catherine E. McKinley draws on her extensive collection of historical and contemporary photos to present a visual history spanning a hundred-year arc (1870–1970) of what is among the earliest photography on the continent. These images tell a different story of African women: how deeply cosmopolitan and modern they are in their style; how they were able to reclaim the tools of the colonial oppression that threatened their selfhood and livelihoods.
Featuring works by celebrated African masters, African studios of local legend, and anonymous artists, The African Lookbook captures the dignity, playfulness, austerity, grandeur, and fantasy-making of African women across centuries. McKinley also features photos by Europeans—most starkly, striking nudes—revealing the relationships between white men and the Black female sitters where, at best, a grave power imbalance lies. It's a bittersweet truth that when there is exploitation there can also be profound resistance expressed in unexpected ways—even if it's only in gazing back. These photos tell the story of how the sewing machine and the camera became powerful tools for women's self-expression, revealing a truly glorious display of everyday beauty.
Displaying 1 - 30 of 31 reviews