Congolese Sapeurs and Fashionable Families in Pointe-Noire during the 1970s by Maurice Bidilou
In the 1970s, Pointe-Noire, the vibrant coastal city of the Republic of Congo, became a stage for elegance, pride, and self-expression. Among its streets and social gatherings, La Sape — the “Society of Ambiance-Makers and Elegant People” — flourished. The Sapeurs, with their refined suits, colorful accessories, and confident demeanor, embodied a unique fusion of African creativity and European sophistication.
Alongside them, Pointe-Noire’s chic families embraced a cosmopolitan lifestyle, blending tradition with modern style. Sunday promenades, family portraits, and community events reflected a shared appreciation for fashion, dignity, and cultural identity.
This period remains a golden chapter in Congolese urban culture — a time when elegance was not just about clothing, but about attitude, artistry, and the celebration of life itself.
Maurice Bidilou, Congolese photographer from the 1970s
Maurice Bidilou was born in Bouansa (formerly Le Briz) on August 15, 1951. At sixteen, he moved to Pointe-Noire to join his brother. After a series of small jobs, his uncle encouraged him to learn a trade. He then began a 19-month apprenticeship at Studio Jeanot Père. In exchange for a bunch of bananas, a demijohn of wine, a chicken, and 20,000 CFA francs, young Maurice learned the full craft of portrait photography—a passion that would shape the rest of his life.
At the time, having a nickname was in vogue. Maurice recalls that around the age of eleven, he invented the name “Pellosh”, playing with letters and adding an American-sounding ending. Long before he became a photographer, friends and family were already calling him by that name—a nickname that proved almost prophetic.
In December 1973, Maurice Bidilou opened his own studio, “Studio Pellosh,” just a few steps from the central market, in a lively working-class district.
He closed it in 2016.
Success came quickly. Beyond the standard ID portraits, Studio Pellosh soon became a celebrated meeting place, where families, couples, friends and sapeurs came to immortalize moments of joy and symbols of personal achievement.
In the evenings, Pellosh wandered through bars, dance halls, and concert venues, blending with a Congolese youth eager for freedom in the vibrant years following independence. Directly across from his studio stood Chez Fofo, a bar-dancing that became his favorite weekend haunt.
During the 1970s, La Sape—the Society of Ambiance-Makers and Elegant People—was in full bloom, and the people of Pointe-Noire sought refined, meticulously composed portraits to send to relatives, often requesting enlargements.
His images soon incorporated symbolic accessories of wealth (a transistor radio, a moped, books, cigarettes) and beauty (handbags, sunglasses, hats, tailored suits). Artificial lighting allowed him to work day and night, shaping a distinctive visual language.
From 1985 onward, the disappearance of black-and-white developing materials in Congo forced Pellosh to switch to color. A decade later, the rise of digital photography marked the inevitable decline of the traditional studio.
Maurice Bidilou passed away on May 25, 2023, surrounded by remnants of his studio—decor pieces, stacks of Kodak boxes filled with negatives, and his photographic equipment. A severe bout of malaria combined with a fractured hip led to his passing at the age of 71.
He is survived by his wife Jackie and their six daughters—Mauricette, Aude, Inès, Alida, Ghéraude, and Carmelle—and their seventeen grandchildren, all deeply proud and committed to the renewed recognition of his work, an effort initiated in 2020 by Emmanuèle Béthery..