Interview Hairstyles For Black Hair

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The recent series finale of Black-ish featured a number of black hairstyles: bobs, yarn braids, sponge curls, twists and afro poufs. They were all worn by the cast just as they were during the ABC show’s eight-year run. The show has always proudly portrayed black hair, deliberately portraying it as just plain blackness.

Interview Hairstyles For Black Hair

Take “Hair Day,” a “black” episode about the complexities of black hair. Specific cultural themes such as wash day, touch-ups, and the many hairstyles worn by black women are highlighted in dance and song, evoking fond memories of the beauty salon. For those familiar with the theme, it’s a joyous display of culture. For those who don’t know, it’s an in-depth look at all things black hair, from hair care to the saga of combing, grooming and motherhood. As Jill Scott sings in the episode, “Put on a silk hat and oil it at night, and don’t let them pull your brims too tight!”

Interview Hairstyles For Black Hair

For the creator of “black” Kenya Burris, hair was a separate character. It’s “such an incredible difference between us and mainstream America,” he explained in the interview, adding, “That’s why we do bantu knots, why we do Dookie braids, why we do braids when we take back our power. We celebrate our diversity.”

Black or Afro-textured hair has always been at the forefront of African-American identity, but its relationship with mainstream America and Hollywood has been complicated. The current generation of stylists are well aware of this, having worked on shows and films such as Black and White, Insecure, Harder They Fall and King Richard.

Araxie Lindsay, Black-ish’s lead hairstylist for the first six seasons and a member of the Emmy-winning modern look team on Hair Day, said she’s happy to be a part of a show that reflects the relationship between black women and their hair. The series showed that men “can love their women with natural hair, that a little boy can fall in love with a girl with an afro,” she said, adding: “I can’t wait for it to become normal, that we can wear our natural hair instead of wigs and weaves, that we can celebrate the hair that comes naturally from our scalp.”

Tracee Ellis Ross and Martin in Black. Hairstylist Araxie Lindsey said when she first started working in Hollywood, “If you wore your hair in braids or pigtails, you were considered an outcast.” By… Richard Cartwright/ABC

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Black life in the early 20th century was rarely portrayed in a positive light, ranging from depictions of African Americans as ministers to black white actors.

Blacks fought against these negative caricatures by creating a version of blackness that seemed more palatable to whites. This new image shattered stereotypes by celebrating the success of many black men despite tremendous odds. The goal was to achieve a certain respectability and recognition in critical sectors of society, both economically and politically, that African Americans had been denied. It was basically a survival tactic while people were being rethought. Black hair subjected to various unorthodox and desperate straightening techniques by blacks in American slavery was a key part of this renaming.

As Ayanna D. Byrd and Lori L. Tharps explain in Hair Stories: Untangling the Roots of Black Hair in America, in the pursuit of the American Dream, “one of the first things blacks had to do was make whites feel comfortable just being there.” The authors write that education “didn’t matter if the person looked too ‘African.’ Curly hair, wide noses and full lips translate as “ignorant”, “ignorant”. vilized” and “infan till”. So blacks did their best to emulate European standards of beauty.”

Or, as Burris put it, “Our hair is so important because at some point we tried to assimilate it. We tried to fix it, but we messed it up.”

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Natural styles related to how hair was worn during slavery were considered simple. As the Great Migration progressed, African Americans became more cosmopolitan, and their hairstyles reflected this change. Afro-textured hair was country and straight hair was chic. As a result, especially among women, Afro-textured styles drew much criticism, while Americans found straighter styles, both black and white, more appropriate.

Such portrayals were expected and ultimately necessary for black women on screen. And these trends, reflected in the cast of Hollywood, persisted in the 21st century.

Lindsey has styled black hair in film and television for over 25 years. When she started her career in the 1990s, natural hairstyles were not popular among black actors, especially among women.

“If they were acting, they wouldn’t be able to wear their hair natural,” she said. “If you wore your hair in a ponytail or a braid, you were considered an outcast. So there were a lot of women with tight afro-textured hair who wanted these smooth, silky wigs and weaves.”

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She found that many of the roles offered to actors with natural hair were often victims or villains. The choices for black women were simple: wear a straight look to get a role, get a role as a criminal, or worse, not get a role at all. (Black men would be fine with a very short haircut.) It would be decades before black Hollywood stars demanded the freedom to wear their hair however they pleased, especially when it came to acting or romantic interests.

As the hairstylist for Insecure creator and star Issa Rae, Felicia Leatherwood has seen firsthand how important these decisions are to viewers. Rey, who played the romantic lead, wore a lot of natural hair, her afro-texture looking timeless and outrageous – one of the many reasons the show was groundbreaking.

“People were texting me saying, ‘I’m only watching the show for the hair,'” Leatherwood recalls. “I was like, ‘Wow, I didn’t even know hair had such an effect on people.’ They would say, “Yes, I was waiting to see what would happen to her hair.” Or, “I took my work hairstyles from the show” and “This is how I did my daughter.” I didn’t notice the effect of her hair until Twitter came along.

Leatherwood said her job as a hairstylist is to instill a sense of confidence through textured hair and to encourage the idea of ​​black beauty. “My intention is to make sure that we see a queen or a king in ourselves, that we see royalty in hair,” she said, adding that her work is more about “inspiring a sense of self-worth in relation to my community and my background.”

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This dedication was reflected in the variety of everyday styles she created for Rae, looks that aimed to highlight the versatility of black women’s hair. Speaking on Insecure, she said: “I’m lucky to just let my imagination run free without any rejection.” Instead, Ray and the show’s other writers and producers supported the series, responding particularly positively to the star’s natural look on set. “It was one of my joys,” Leatherwood said, adding: “Even men came up and said her hair looked really nice.”

Just showing black hair can have a powerful impact. “Hair is an expression of who we are and how far we’ve come. This is our heritage,” said Reinaldo Marcus Green, director of the biopic King Richard, the father of tennis stars Venus and Serena Williams.

Throughout the film, the young actresses playing the Williams sisters sport a variety of braids and braids, common styles for African-American girls. Sportsmen first met America when they appeared in everyday life: they wore uncompromising braids interwoven with beads. The look that became a trademark of sisters around the world was an African-American tradition.

The director recalled the pre-game scene in King Richard, when her mother, Orasen Price, braids Venus’s hair and reminds her daughters to never lose sight of their pride in being black and who they are. “For us, hair is a form of self-expression,” Green said, “and it’s great that it’s fully represented in our film.”

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For King Richard director Reynald Marcus Green, Venus Williams’ (Sania Sidney) pearly tresses resembled Superman’s cape. “Hair is an expression of who we are and how far we’ve come,” he said. Acknowledgments…Warner Bros.

This scene depicts a tender moment between a black mother and her daughter: Venus (Sania Sidney) sits patiently while her mother braids. A few minutes later, Venus enters the courtyard, her pearly white tresses swaying in slow motion.

“I don’t know how many people texted me when she came out with those pigtails,” Green said. “I don’t do a lot of slow motion

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Rudy Freno

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