At 26, Makhan Sakho already understands the quiet power of an image — how a frame can hum, sing, and speak louder than words. Guinean, Malian, and Congolese (DRC) by heritage, Parisian by address, Sakho has moved through modeling, styling, production, and creative direction. Yet it is behind the lens, orchestrating color, texture, and composition, that his vision finds its fullest voice.
“I like when the photos speak for themselves,” he says. “The compositions, the colors, the textures — they allow us to understand the mixture that makes me.”
La Vie est Belle continues the song begun in Jour de Fête. Where that first project exalted West African women in ceremonial bazin riche, lace, and architectural headwraps, this new chapter widens the scope — a tribute to Congo’s dandies, Mali’s lineages, Guinea’s women crowned in divinity.
“If this editorial has a takeaway,” Sakho says, “it would be celebration. All my projects are centered around celebration — of our culture, our richness.”
The celebration here is not spectacle, but inheritance. Each portrait hums with quiet grandeur. Each figure becomes a vessel of memory and myth. The streets of Kinshasa, the deserts of Mali, the rivers of Guinea — all converge in a single frame, a single heartbeat, a single chorus. Light drapes over fabric and skin, textures breathe, colors sing. Here, fashion is memory; clothing is archive; style is a story told in gesture and gaze.
He moves with the elegance of history stitched into his posture. In crimson, he recalls the boulevards of Kinshasa — rebel and historian in one. The umbrella he holds is no accessory, but a scepter of style, a quiet proclamation of authority. Eyes fixed beyond the lens, he carries the weight of generations, each fold of fabric tracing Congo’s streets and salons.
Draped in Malian turbans, he transforms: desert wind and warrior song, Samory Touré’s echo threading through his silhouette. He becomes guardian and raconteur, the editorial’s axis. His stance bridges rebellion and remembrance, extravagance and reverence. The camera does not simply capture him; it converses with him, recording the cadence of his gaze.
Elegance here is fire — a resistance, an insistence. In La Sape, his jacket blazes against the neutral backdrop, each line cutting like a clarion call. Posture becomes poetry: the tilt of his head, the curve of his hands — each a stanza.
In Malian garb, he softens: draped in white and indigo, cradling the kora with reverence, letting rhythm and tradition breathe through him. Here, he is not only a bearer of style but a keeper of lineage, curator of rhythm, echo of ancestry in motion.
He lives in duality. Emerald tailoring, Saharan turbans, flamboyance and quietude — all threads woven into one. His hat tilts just so, expression unreadable, carrying the editorial’s quieter notes: peace, purity, reflection.
In one frame, he is sapeur — poised, luxurious. In another, crowned by Saharan night, he is wind and starlight, a solitary figure of contemplation. He is the connective tissue between spectacle and serenity, the place where history, dream, and imagination converge.
She is Oshun made flesh. Draped in gold, she flows like liquid sun — river and sky, sensuality and sovereignty intertwined. Her gaze pierces with authority that is soft yet immovable. Every fold of satin, every jewel, every glimmering ornament speaks of Guinean inheritance: inexhaustible, luminous.
In a second look, contemporary yet divine, she asserts that sacredness is not bestowed — it is claimed. Her presence is a current, a language of light, a reclamation of femininity and power.
She channels Yemaya, mother of the sea. Her garments ripple like waves caught between dusk and tide, stitching motion into stillness. Arms outstretched, posture protective, gaze expansive — she embodies maternal authority without apology.
In a second look, paired with custom Parisian boots, she transforms into a modern siren: fearless, fluid, magnetic. She carries myth into the present, showing that divinity resides not only in history, but in presence and action.
Individually, these portraits exalt. Together, they form a choir: Congo’s flamboyance, Mali’s lineage, Guinea’s divinity — woven into a single fabric. “I intentionally chose those three colors to represent love, purity, peace, beauty, and future,” Sakho says of the Malian-inspired headpieces. Harmony, not hierarchy, emerges.
Sakho revisits Jour de Fête boubous, reviving them with intensified color and vibrancy. Headpieces inspired by Samory Touré, Mansa Moussa, and the Tuareg crown the men in historical resonance, while second looks reimagine Congolese dandies — a homage to Papa Wemba, King of La Sape.
For the women, Sakho channels divine femininity: Oshun and Yemaya, mother and goddess, draped in Senegalese-made textiles and jewelry. Hats crafted by Sakho’s aunt — once a hairstylist for John Galliano at Dior — weave personal lineage into grandeur.
From Paris studios to Dakar ateliers, from ancestral myths to tailored extravagance, Sakho declares a simple truth: fashion is memory, style is a declaration of peace, and celebration itself is resistance. La Vie est Belle — life is beautiful because heritage is infinite, because color sings, because lineage lives.
Team Credits
Creative / Art Director, Stylist, Production & Casting: Makhan Sakho @kiingmara x @thankyoumara
Photographer: Anissa Hidouk @anissa.hid
Assistant Photographer: @samzukhi
Models:
Makeup Artist: Divine Moanza @slayby.tatiana
Hairstylists: Enzo Bodin @enzobodin.hairstylist & Kyria Kikoli @bith.fr
Kora Owner: @blak_mik_mak
