Bolaji Kekere-Ekun

Narrated

 By

Sampson I.M Onwuka 




The brighter version of Bolaji is Sean John - perhaps a cloth-line in default but model with a poise and perhaps a pose manufactures the new image a Shakespeare company in public theater. The suits are outstanding, merits a second look and gives us a culture of relevance in the art of 'good looking'.



Somewhere - perhaps somewhere else we have seen this pose with the hands in display - there is a 'good looking' bar tenet which offer explanation to this fall dress-up, a salon in some distant dusty town whose lithe glow attitude is fitting for a pose reflecting originality and cost more compelling than the image of a star from Nollywood.



Here - more than anywhere is a culture in tune with public image, aliases in person and also in names - there is a link between the model - Bolaji and the designer or reform idol - Sean John.  The model is wearing sweater and he is dressed up for the public in vestibule tunic, long sleeves dress with clothing material not easily available.


But who is Bolaji Kekere Ekun? He is part documentary artist, part agronomist but with a Sean John, he narrates his expression and career challenge differently.






@Sean John




In this picture we have noticed a fresh look at the young man and men in the picture, our collective art-forms shouts for new expression but it is expression in Brooklyn by Sean John and it reflect Brooklyn almost to the ends.


A great designer always leave an expression that is exclusively his or hers. The man in the middle at the picture embodies all the elements of Sean John and represent Brooklyn in many ways than one for the rest of us. Perhaps


Whose art? Whose uniform? yours, mines, but Sean John perfumes is a little different, his cloths are catching up but in vice of young expression - Ekun to Bolaji finds a fit.



One ask the same similar and alternate question - what lies in nothing -- is something. Although a Sean JOHN fashion is plucked from the public music, here, perhaps in Ekun, there is a conservative expression.








@Sean John----New York.




There is something about the 60's that the picture invoke. Things from the past are sometimes apparition - no less 'things around your neck' a theme perhaps on Soyinka - or about theater searching for identity and a search for new meaning from old and a surge of identity.


In some attire there is a statement about the 'boys are back in town', but in these brocade of distinct arrangement - the designer tend to re-assure that the boys never left town.


Not all Sean Johns B.I.G fans may be comfortable in tunic which thankfully for the rest of us is not very Hebrew. But perhaps the tunic over the dark blue speaks for itself and as a seance' interrupted, we are forced to confront an image we can hate or like - minimal as with a character from Half a Yellow Sun - desultory as Othello different.


 







A fashion statement is not art itself, it is a culture of space, times, defines existence and perhaps numbers. Our dress code is part of our human commandment and lifestyle altogether and therefore Agbani in many ways. Bolaji Kekere Ekun on Sean John embodies an attitude that symbolizes a neighborhood in transition - perhaps a history and legacy no longer at ease with its retiring or formal ways.



But here unlike elsewhere, the lost Arcana of Bad Boys Entertainment from 5th and 44th Street, New York, takes an elevated theme and Sean John may have enjoyed a new entrance in his fashion set of statement - it is safe to draper a Sean John for all occasion. The Sean John design was always there like a designer unveiling his sports gear for first time in a crowd of home fans. 
     







A summary of the Sean John outfit perhaps. It is more than 4 star....if we can ignore the blings.