Central Cee, Jorja Smith and Slawn have something in common beyond being recognizable names in London’s creative scene.
They’ve all become part of the colorful visual universe of Moroccan British artist Hassan Hajjaj.
And now, that universe is getting another international spotlight.
Hajjaj’s My London Rockstars is being featured at the 1-54 Contemporary African Art Fair, taking place at Somerset House in London from October 15 to 18.
The project brings together portraits of musicians, designers, artists and other creative figures who have helped shape London’s contemporary cultural identity.
But these aren’t conventional celebrity photographs.
Hajjaj’s work is instantly recognizable for its colorful patterns, playful compositions and frames built using everyday consumer products.
His visual language combines Moroccan references with British street culture, drawing inspiration from fashion, music, pop art and the communities that shaped his life.
Born in Morocco and raised in London, Hajjaj has spent decades exploring what happens when different cultures meet.
In his photographs, traditional Moroccan textiles can appear alongside contemporary streetwear, while familiar commercial objects become part of the artwork itself.
The result feels somewhere between a fashion campaign, a music portrait and an art installation.
For Hajjaj, the term rockstar isn’t limited to musicians. It also describes the creative people whose work influences the culture around them.
And although Central Cee might be one of the most recognizable faces in the collection, the project is really about the wider community behind London’s creative energy.
It’s also another reminder that Moroccan artistic influence extends well beyond Morocco’s borders.
From familiar fabrics and colors to contemporary interpretations of traditional aesthetics, Hajjaj continues to show how Moroccan visual culture can exist naturally within international fashion, music and art.
And putting Central Cee inside that universe feels like a particularly fitting crossover.
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