Sophie Fontanel, journalist

‘I advise not to dress up too much, the more casual the better. I’d be tempted to wear velvet pants and a huge worn t-shirt. With Westons, of course.

For a long time, when I worked in fashion, we would say of certain women: “she’s dressed like a gallerist.” That meant she wore clothes that were too original, like a cardigan with buttons of all different colors, for example. But I’ve noticed a clear improvement in the standard of dress, which goes hand in hand with the extraordinary merging of fashion and art lately. Demna, at Gucci, has created a “gallerist” look this season.

At the fair, I usually wear huge white cotton pants and a sailor’s smock, to navigate these exhausting waters, with red Jacquemus x Nike sneakers. I can’t stand seeing girls in ballet flats anymore. My signature piece? A trench/cape by K-way, made of coated cool wool, in a dark plaid. An archive piece, therefore collectible. Maybe I could resell it to Gagosian.’

Cécile Fakhoury, founder of Galerie Cécile Fakhoury

‘During Art Basel, the days are intense, so I favor easy-to-wear clothes: most often suits, jackets, and pants. A mix of pieces by African designers, custom-made outfits by an Ivorian tailor who has been making pieces for me for years, and a few French or American brands. I generally don’t wear many accessories: only a few pieces of jewelry, like a snake ring, on my pinky, by Anthem, an Ivorian jewelry store.

If I have time to change for the evening, I choose bolder pieces by Nigerian designer Lisa Folawiyo, Ivorian-American Loza Maléombho, or Ivorian Aristide Loua from Kente Gentlemen, which is renowned for its tailored suits. For the gallery’s 10th anniversary celebration, during Art Basel Paris 2022, Aristide made me a magnificent iridescent purple suit in woven textiles from Ghana.

At the end of the week, I often opt for perfectly cut jeans and a shirt by Olooh Concept or Asantii, based in the Ivory Coast and Rwanda respectively. I sometimes pair this with a jacket in recycled fabric by Malian designer Awa Meité.

In 2021, I created ABY in Abidjan, a boutique that brings together African fashion and design. It’s a way of expanding my commitment as a gallerist by shedding light on the contemporary scene. My wardrobe reflects this same spirit: a balance between fashion, sobriety, and the desire to showcase the creativity that surrounds me.’

Ibrahim Meïté Sikely, artist represented by Galerie Anne Barrault

‘As a painter, my wardrobe is limited because I always end up getting my new clothes dirty. At Art Basel, I come as I am. I enjoy recognizing artists by their little eccentricities, while others shine through their extreme simplicity. I love being an artist since my outfit becomes secondary: in this regard, my works are an extension of me. I focus on comfort, I appreciate clothes that tell a bit of a story, and the kind of fabrics that really catch people’s eye.

I love wearing Supreme, first because it’s a nerd brand that’s a bit too trendy for the cool kids, then because I am that nerd, I believe in that nerd, and finally you must believe in that nerd. There’s something comforting in the thickness of their hoodies: I feel like I’m in samurai armor. The front and back typography protect me like a sacred talisman that even an archaeologist specializing in Mesopotamia wouldn’t be able to understand. They announce my clan: those who do things! I have one which was a collaboration with the legendary rap group M.O.P., emblazoned with a phrase that really amuses me: ‘Yap that fool!’ It makes a strong first impression –  you know who you’re dealing with.

A red Supreme hoodie, Dickies pants, a pair of Doc Martens: there you have it, a super confident, super happy Ibrahim.’

Thibaut Wychowanok, Editor in chief of Numéro art and Artistic Director of Reiffers Art Initiatives

‘Two quotes come to mind. The first from 1975 is by Roland Barthes who compares the Palace, a famous Parisian club, to a place “where everyone enjoys seeing themselves.” [Roland Barthes by Roland Barthes, 1975]. The Grand Palais, during Art Basel Paris, is just such a place. It becomes a day-club where everyone enjoys finding themselves, recognizing themselves within their category (journalist, collector, gallerist, enlightened amateur...), and seeing themselves recognized by their own. Like in a club, “belonging” is mainly about dress codes, look, and attitude.

The second quote is the favorite expression of the protagonist of Glamorama (1998), a novel by Bret Easton Ellis. Victor Ward, model and nepo baby, repeats his philosophy: “The better you look, the more you see.” The sentence has a double meaning: “the closer you look, the better you see,” or less expected: “the better our appearance, the better we see (the world).” Can looking good help Art Basel visitors see better? Why not. An aesthetic appreciation must begin with oneself and from there be applied to the rest of the world and to art. Otherwise, it is often just an aesthetic approach that copies the taste of others.’