Michelle Sank’s Drag Daughters Series

Michelle Sank’s ‘Drag Daughters’ series is a unique documentation of South Africa’s strong drag culture. What began as a spontaneous encounter with a stranger on the promenade of Cape Town, blossomed into an empowering collection of photos portraying some of the country’s most exquisite drag queens. Unlike traditional portrayals in pageants, competitions or performing venues, Sank’s photographs eschew the glamour associated with these environments, focusing solely on the beauty of her subjects’ figures. Nevertheless, the images radiate a strong sense of performance and allure, reflecting the vibrant personalities of these young men. 

I had the amazing opportunity to sit down with Michelle and discuss how the ‘Drag Daughters' series came to be and learn about her experience collaborating with some of South Africa’s drag queens. 

“The drag culture is very strong in Cape Town. It always has been…” 

Upon revisiting her homeland of South Africa after more than 20 years, Michelle’s inspiration for the ‘Drag Daughters’ series was born out of a spontaneous encounter with Miss Drag South Africa in Cape Town. Recalling her first day back in the city, Michelle shared how, in a way, this subject found her, sparking her interest in the exploration of the country’s drag culture: 

“It's a very interesting story how this came about because I went back to Cape Town, and I really was only meant to be there for 10 days. So, I took my camera with me, and the day I arrived, I was staying on the promenade; where I grew up as a child, and where I did my very first work as a student.

There I met Miz. Cambell, who's actually Jermaine Jacobs, and I said to him, ‘I've just landed. Would you mind if I took your photograph?’. To which he answered, ‘Not at all, I've just been crowned Miss Drag South Africa’. ‘Oh wow’, I said, ‘You have?’. He replied, ‘Yes’. And I asked, ‘Jermaine, are you staying in Cape Town?’. ‘Yes, I'm staying at this hotel down the road.’, he answered. Then I asked him, ‘Do you think I could come and photograph you?’ To which he responded, ‘Of course!’.

I thought this is never going to happen. It's just not going to happen. We exchanged telephone numbers. And in fact, it did happen! So, that was actually in the hotel room.

He had some of his outfits with him, and then I thought: this is really interesting, this whole thing. The drag culture is very strong in Cape Town. It always has been… So it opened up this thing for me. It was just so wonderful working with them and the whole thing was kind of crazy because we were in the hotel reception, and it was just magical…

Then I went on a kind of trajectory to try and find other drag queens in South Africa. I researched and contacted people and that's when the other images came.” 

“…the focus was just on this kind of beauty of figure and this sense of performance within the frame of the camera.” 

When I first saw these photographs, what immediately stood out to me was the unusual setting in which they were taken. Unlike Michelle’s other works, where her subjects are often photographed in their own homes and environments, most of the images of the ‘Drag Daughters’ were captured in a rather different setting. From our conversation, I learned that these subjects were initially photographed in a hotel lobby—a place that held no personal significance for either the subjects or Michelle. To me, this neutral backdrop sharply diverged from her usual approach of situating people within familiar and intimate spaces.

While Michelle eventually photographed some of the drag queens in their homes, it was the hotel lobby that first became her impromptu studio. When I asked about this distinctive choice, she elaborated on how the hotel’s impersonal space influenced her portrayal of the drag queens, adding a unique layer to the series. She also explained why the hotel was chosen as a primary location for her work: 

“What was interesting is that a lot of these people live in quite challenged areas in South Africa. Originally, I wanted to go into those areas, but I was advised not to. As a woman on my own with a camera, not so great... Then I said to the hotel - which I think you can only do in Cape Town-, ‘I arranged for the drag queens to come to the hotel’ and [each time] I just told the reception, ‘I am back!’. So, I actually shot in different parts of the reception area with all these tourists going through, and I moved the furniture around… it was extraordinary.

Also, it is actually a very good hotel, the furniture was quite velvety and brocade, it fitted in the remit of this realignment of these drag queens, it was elevating them, putting them in a very fresh way.

And the fact that it could be like a studio shoot, it was stripping away all the other things about drag and just giving them that platform to present themselves. It worked really well, that there wasn't too much distraction, and the focus was just on this kind of beauty of figure and this sense of performance within the frame of the camera.” 

“The rest of the neighbourhood really absorbed Laylah.” 

In her approach to photography projects, Michelle places great importance on building a trusted relationship with her subjects and creating a safe environment where they can fully express their true selves, both on and off camera. She described her experience photographing some of South Africa’s drag queens with a deep sense of respect and admiration. Michelle highlighted their striking personalities and the vibrant glamour they bring to their art, emphasising how these qualities shine through in her work. I was also immediately struck by the diverse array of people who are photographed in this series, wearing these wonderful costumes and exuding such a strong and empowered energy. I felt like I wanted to get to know them myself and was very interested in hearing Michelle’s experiences of connecting with them. During our talk, she highlighted some of her memories from collaborating with Laylah, Maxine and Davina during her stay in South Africa. Michelle first recounted her collaboration with Laylah: 

“…I really connected with Laylah on a very personal level, her story... She came from a very rural area in the Cape and she was rejected by her family, and lived on a train. She was kind of homeless and then met someone who supported her.

I really adore Laylah. There's something that's just so, you know… we really connected. So, I asked her if I could work with her again. And where she was living, where those other photographs were taken is an area called Kraaifontaine. She's moved from there now, but it's quite a challenged area, [however] not as challenged as the townships.

So, there was this extraordinary Laylah… It's interesting, some of the white people were still from the old kind of apartheid era, in a way, and when we were photographing outside, there was a lot of bad feelings towards her, but she just overcame that. The rest of the neighbourhood really absorbed Laylah.

That image of her in the white dress, that's when I went again to see her, and it was her birthday. She chose to wear that, and she was almost like this amazing angel, and then that house with the crosses… I mean, that was just serendipitously unbelievable… unbelievable.” 

Towards the end of our conversation, Michelle also shared her experience meeting Maxine and her drag daughter, Devina. She also elaborated on how drag queens, like Maxine or Laylah, are dedicated to making a positive impact within their communities: 

“When I went into Maxine's house, there was this gorgeous, young, androgynous [person] in this dressing gown. I said to Maxine, ‘Who is that?’. And she said, ‘She's my drag daughter, I'm training her how to put on makeup, how to perform drag.’. Then I asked if I could photograph her, and I came back again to do that shoot.”

“Laylah [also] put a lot of work into other young people, who want to do drag in the townships. I think she's been quite influential in working with young people, getting them to do their studies.” 

“…the whole sense of South Africa is one of multiculturalism.” 

Michelle's admiration for South Africa resonated through our entire conversation. Her deep respect for her heritage and her unwavering optimism are at the heart of her work. Her South African series vividly capture the blossoming community, showcasing the country's rich cultural landscape and dynamic spirit. 

“I think [because of] the trauma that South Africans have gone through, there is now a sense of individuality and expression … and people are out there, people are open. Obviously, there are real issues still, but my work there has been a celebration of what is happening…people are empowered there and the way they manifest that is really interesting” 

My conversation with Michelle offered a captivating glimpse into the vibrant drag culture in South Africa, revealing a world filled with creativity, resilience, and flair. Through her lens, Michelle captures the beauty of drag queens, which serve not only as expressions of personal artistry but also as a celebration of South Africa’s diverse multicultural society. Her photographs present a unique portrayal of drag performers, showcasing their strength and individuality. In doing so, they stand as a powerful testament to the dynamic and evolving nature of drag culture in South Africa, inviting us to appreciate and celebrate this vibrant facet of society. 

Special thanks to Michelle Sank for the opportunity to chat with her about her ‘Drag Daughters’ series!