Continuing the Legacy: Delali Ayivi Carries Forward the Tradition of Togo's Pioneering Photographers
Delali Ayivi, a Togolese-German fashion photographer, has carved her own path in the industry with high-profile shoots With a rich family heritage in photography, it's no wonder she has become a rising star behind the lens
Togolese-German fashion photographer, Delali Ayivi, has gained recognition through her high-profile shoots, including her cover photoshoot of Aminata Touré, Germany's first Black minister, for Vogue Germany last year. However, Ayivi's rapid success since turning professional in 2019 should not be too surprising, as photography runs in her family.
Ayivi explains that the Ewe people, one of Togo's largest ethnic groups, hold beliefs about rebirth and the manifestation of certain personalities in future generations. Ayivi's own curiosity, creativity, and passion for photography are reminiscent of her great-great-grandfather, Alex Agbaglo Acolatse, who was one of the pioneering Togolese photographers.
Acolatse, born into a wealthy family in 1880, dedicated nearly 50 years to his artistic endeavors. Through his lens, he captured a wide range of subjects, from affluent Togolese individuals in classical studio portraits to documenting the territories captured during the German, French, and British colonial eras.
In 1884, the region now known as Togo became part of the Togoland German protectorate. As part of this transformation, the modern capital, Lomé, emerged, complete with three railways. While the German occupation often brought brutality and forced labor, certain Ewe individuals were enlisted into what Germany referred to as a "Musterkolonie" – a model colony.
During Togos colonial periods, Acolatse began creating a series of postcards and taking poised studio portraits of Lomé bourgeoisie with their status shown through fashion.
Acolatse's studio work shows us the fashions worn by wealthy Togolese people in the early 20th century.
Alex Agbaglo Acolatse/The Metropolitan Museum of Art
Acolatse retired in the mid-1950s, a few years prior to Togo gaining independence in 1960. He passed away in 1975 at the age of 95. Ayivi emphasizes that what captivated her the most upon seeing Acolatse's studio portraits for the first time was the profound representation they conveyed - a reflection of Togolese pride.
"For me, it was the initial instance of witnessing Togolese individuals being photographed from a Togolese perspective," she expressed. "There was no sense of exoticizing the Togolese people in that gaze."
Pictured, a chief in a top hat surrounded by women and children.
Ayivi, despite her different background, is greatly influenced by her great-great-grandfather. Born in the US but raised in Germany, she later moved to Lilongwe in Malawi at the age of 15. Eventually, she transferred to the UK and enrolled at the University of the Arts London. Acolatse's work has sparked Ayivi's interest in fashion, specifically in its ability to convey social messages.
Acolatses photography challenges stereotypes of the African continent, according to her. She believes that often the portrayal of Africa is influenced by a foreign perspective that serves a specific agenda, such as justifying developmental aid. Acolatses was inspired by the fact that she encountered imagery that did not align with this purpose in the early stages of her career. She also mentioned that the intention behind her studio photography continues to be a guiding principle for her till today.
Ayivis's preferred image of Acolatses is a self-portrait against a picturesque backdrop, which she contends has been influenced by Western ideals due to the influences of colonialism. According to her, this particular style was prevalent in Togo during the early 1900s. The level of assimilation determined one's respect or perceived seriousness as a person, yet there remained a profound sense of pride that Ayivis found profoundly motivating.
A self portrait by Alex Agbaglo Acolatse.
Alex Agbaglo Acolatse/The Metropolitan Museum of Art
Changing the lens
Ayivi's work exudes an aura of hopefulness and delight, even when delving into profound themes. Among her cherished creations, "The Joy of it All" holds a special place, depicting a gathering of individuals joyfully jumping at Lomé beach. Ayivi fondly expressed, "I have developed a profound love for this particular image as it captures a genuine moment of pure joy."
"The Joy of it All" by Delali Ayivi.
In 2019, Delali Ayivi and her friend Malaika Nabilah joined forces to launch Togo Yeye, a project aimed at showcasing and promoting Togolese talent both locally and abroad. Their mission is to enhance the representation of Togo in the creative industries. Working together as a creative duo, they have collaborated with renowned brands such as Levis and have had their work featured on the prestigious PhotoVogue platform.
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As part of a Levi's collaboration, Togo Yeye created an image inspired by the West African aquatic divinity Mami Wata.
Togo Yeye (Delali Ayivi, Malaika Nabilah)
Ayivi now divides her time between New York and London, acknowledging her yearning to take a step back and embark on a journey of exploration, experimentation, and rediscovery of her creative self.
"In the fast-paced world of fashion, it is crucial to avoid burning out too soon."
Last month, she returned to Togo for a PhotoVogue project focused on creating artistic works influenced by the idea of beauty. Working alongside her creative partner Nabilah, she expressed her enthusiasm in being able to create in Togo once more, highlighting the immense joy and fulfillment it brings her.
