Hello there 🙂
I can't exactly remember the moment when I found that my hair texture was not being shown in the media. However, if you identify yourself as black or bi-racial, you have probably become aware of it at some point. Unfortunately, the representation in the media has always been short-sighted for many color communities. Of course, it would be naive not to acknowledge that progress has been made on this visible Inclusion – we saw the natural hair movement decrease, and even the animated short film hair love Won at the 92nd Academy Awards – but despite these commendable advances, we still have to reckon with the fact that television and films celebrated by these institutions keep failing to recognize the humanity of all stories, let alone awarding them frequently.
And while it should be noted that parasite It was the first foreign language film to win the best picture of the year that made history. Don't be distracted by the fact that only one color actor was nominated in all categories or that no African American in the entire history of the Oscars was nominated for an Oscar for hair and make-up. When it comes to real involvement in film and television, we still have a lot to do – having Janelle Monáe performed is not enough. You need real recognition from color artists in the form of nominations and award winners.
But I promise, my friends, not everything is lost – there are three hairdressers in Hollywood who move the needle one by one and create the kind of change we need to see in the industry. Araxi Lindsey, Stacey Morris and Carla Farmer will tell you in advance how they have worked on some of the most famous films and TV shows and why the representation of hair is so important and what products they swear by. But first a little bit about her …
Araxi Lindsey is a feature film hairdresser who was department head of the television show black since the pilot. She is also the personal hairdresser for some prominent clients, including Tracee Ellis Ross,
They were recently nominated for the best contemporary hair styling by the Make-up Artists and Hair Stylists Guild Awards. How does it feel to work on your work? black be recognized?
It feels great, but I've felt comfortable standing behind the curtain for so many years – so I didn't like a lot of attention or a lot of people who spoke to me or people who said great things when I was younger , But now I've got to a point and I think also because I'm a mother who I know is good to celebrate the good things and it could be a testimony to someone else or it could inspire the youth and I & # 39; I'm starting to understand that. It feels good to be a person who is admired or valued for what they like to do.
What is the only hairstyle you loved to create on Tracee Ellis Ross?
What I loved and it was a monumental moment when Tracee won her Golden globe In 2017 she had the long ponytail extension. I've seen people with ponytails but not as full and fluent as theirs. I did not use a curling iron for this hair, I just washed and conditioned it, distributed it and then incorporated its natural hair into the extensions. Tracee has never worn this type of hairstyle before, so it's exciting to take this trip with you and introduce you to new things.
What tips would you give women who are thinking of moving to their natural texture?
Be patient and confident when you act naturally because it will take some time before you reach your own vision. Do not compare your trip with natural hair as you may not get the same results as someone else. Everyone has their own recipe for what they look like – you have to learn your own hair, listen to it and trust it. But…
Above all, trust comes because we have already been taught that our hair does not look the best or does not look like the chosen girl on the red carpet – but of course our hair does not look that way and her hair probably does not look that way either ,
Make sure you are confident enough before deciding to make a natural decision as there will be an uncomfortable period. However, if you allow it to do what it wants to do instead of forcing it to submit, you will be happier with your results. Don't think of it as that mountain you have to climb barefoot. You just have to let your hair do what it wants to do and have the patience to get where you want to be. Another tip for anyone who wants to cut off the hair that isn't natural is when you have about 5 cm. I would strongly recommend using single braids, cornrows, or a healthy tissue and just waiting for your hair to twist to the desired length because you probably won't be able to see how your texture is going until you let it grow to four inches ,
There is still a lack of education regarding black hair. both how to actually style it and how to talk about it in an informed, not implicitly biased manner. How do you think we can change the way black hair is perceived in society and mentioned in the mainstream media?
I think it shouldn't be a thing – it's natural for people who have it, so it shouldn't be new jargon or some form of a safe word when it comes to black hair. It is natural for people who have it. Look at people's natural hair for what it is, their natural hair.
Just hug it the way we hug someone wearing lipstick or lip gloss.
We were taught for so long that our hair was not celebrated or accepted because we had to fit in with American society. They have people who don't have structured hair and feel like they can't. Therefore, it's easier for them to tell people with textured hair to adapt to us – that's been the case for years. Look like us because we don't know anything about this texture or braids … Get rid of it and wear it. And now people say, "I don't want that. I just want to be myself." I don't think people who don't have the texture have to learn about it. You just have to accept it.
If you want to learn it, like in our industry, I think it is easier and more efficient to hire only someone who is familiar with the hair texture. When I went to the cosmetic school, nobody asked me: "Can you make braids? Can you style texture? "They don't care. You care whether you can do color and cut, and that's embedded in us. But if you're interested, hire black hairdressers.
When it comes to styling hair on the set black and offset for Tracee Ellis Ross, what goes into the thinking process of choosing a particular hairstyle?
I usually like to build characters, so it depends on the character. For example Rainbow on blackShe is an anesthetist with several children (including the star) Yara Shahidi) and a dog and a husband. She doesn't seem to be the type of person who spends a lot of time styling her hair or spending a lot of time in a hair salon. So I tried to make practical hairstyles for this figure who is studying medicine and has a busy life but has structured hair. When I did it The matrix I was shown a picture for Jada Pinket Smith and I read the script and I did what the directors and creators wanted. This is more true for character building, but I like to ask actors what they feel or think about it – how do they perceive their character? I ask all these tedious little questions to the actors, to the authors, to the actors, and then I put my own spin on it.
What products are you best suited to on the set? black? Are there any products you swear by for Tracee Ellis Ross?
Well, I like to involve the actor, whatever the actor likes, I like. But when I design a natural texture, I firmly believe in oil (a nut or seed oil) and water, and in an ability to style. Tracee Ellis Ross loves her template Products, and we use them on and off regularly.
Stacey Morris is a hairdresser and barber who started making hair when she was 12 and did hair professionally when she was 18. She worked on legendary shows like black. Martin, and The Prince of Bel Air, In addition to her on-set experience, she was a personal stylist for some of Hollywood's best-known men, including Eddie Murphy, Will Smith and Anthony Anderson.
You recently received the Lifetime Achievement Award at the Hollywood Beauty Awards. How does it feel when your work is recognized? What do you hope your work tells the world?
I mean, getting recognized for something you've been doing for so long feels amazing, of course, and I've always been a humble person, so it was one of the most indelible moments in my career and also a milestone. I was mentioned before, but never awarded. So it's amazing to be awarded. I hope my work is inspiring and I look like a role model for young people because I literally did something out of nothing.
I took a pair of hair clippers and a comb and cut my way to my current life and career.
What's the biggest lesson you've learned from working on such culturally important shows as? Black-ish, Martin, fresh Prince of Bel-Air, scandal, and girlfriends?
I learned that I have to use 150% because when I started in this industry it was one male dominated Job. As a woman, I had to prove myself – not only that I am good or even that I am the best, but it was a lot: "Oh, she is great Female Hairdresser ”, but I can run with the best as whatever you identify with. So I just used to always work at 150% and not let what people say or think affects me or my commitment to what I do.
You were the hairdresser behind many men on the A list – including Will Smith, Eddie Murphy and Diddy. Why is it just as important for men that their natural hair is featured in the media?
There is still a lack of education when it comes to black hair, both how to actually style it and how to talk about it. However, this is important because the diverse styles of textured people represent these people. So when you see someone like you on the screen, you have something to identify with. It only changes male perspectives in nursing when they can see someone on the screen who looks like them and has a certain haircut or looks a certain way. And when it comes to education, I think it's important for people without structured hair, and I encourage my colleagues to give classes and show the skills required to style structured hair, teach and teach techniques teach us how to verbalize and talk about our hair and keep putting it on the screen to really change it.
What was it like to recreate 70s-inspired hair for the film? Dolemit is our name? Where did you get your inspiration from for the film?
That was fun. I was born in the 70s and was young, but I still remember it. Carla Farmer and I did it dolemite together and we were inspired by everywhere. We looked at our parents' photo albums, we looked at our own photo albums, we researched, we watched films and we looked at all these different styles and we were inspired in this way. One of our main goals was to realistically portray the hair of our culture from this period – and it wasn't just afros, sideburns and bushy mustaches. You know, our hair had other sides. Often times, when a film says the 70s, it won't represent the wide range of hairstyles – so we've done everything we can to make sure all hair works, and not just for African American textures, but for all other cultures as well because we didn't wear just one style over the period.
Geographically, it could have been the same year if you had lived on the East Coast, Midwest, or West Coast. The styles were different, not to mention it Some people were more conservative, some were inspired by the hippie side of things, others were inspired by music bands at the time, so we had to think about these things and really have to deal with the time to make sure we showed all the variant styles. but also to give an example of films to follow.
You have headed the hair department for Come 2 America. Can you give us spoilers about what we can expect in terms of the look on the screen?
You can expect African-American hair to be presented in different cultures the way we've probably never seen it on modern television. So it is today, so you have Americans and then Africans, but there are different levels of socio-economic classes within Africa – you have kings, city dwellers and peasants. So there are all of these different levels, and sometimes people's hair depends on their financial situation, so we can show it all. We have to be creative, which is cool because the film is a fantasy, and we are in the present day, so we have to pull it out of our heads and be free. When it comes to African styles, you see typical things that people know and we have to create them there because it's fantasy, but also because the hair in Africa is innovative and inspired by other countries, television and the Internet It is an open plane. You can expect to be entertained because the hair helps tell the story.
What products would you recommend to the men who read this or the people who love the men in their lives in whom they invest to take care of their natural texture? I hate generalizing products because not everything works for everyone or their lifestyle – it really matters. I love happy accidents, I'm not afraid to try something. But if you have a stylist and accept their suggestions and ask questions. That being said, I use Keracare shampoos and conditioners. When it comes to gels, I love Paul Mitchell. With guys for twist hairstyles, you need a sponge and a black solution. For men with a beard, oils and skin care products are essential.
Carla Farmer has been a hairdresser for over 40 years and has specialized in the styling of all hair textures in all art media. Some of her most notable work were 13 reasons why. and Grey's Anatomy. girlfriends as well as newer films likeSylvie's love which was published on Sundance this year, and Coming America 2nd,
Her work has been nominated for both Emmys and the Hair Stylist Guild Awards in the past Dolemite is my name had quite a stir. Why do you think your work as a stylist is important? And what do you hope your work tells the world?
I never do this for an award, so I was surprised when Dolemite is my name was nominated and got so much press. It never occurred to me that this would happen because that's why I don't do what I do. I do it because I love what I do and I want to tell a story. However, when I got into this arena and saw the lack of representation, I knew that I had to work to ensure that all my friends did an excellent job and continued to push ahead with what we do so that someone could break through.
Because in the entire history of the Oscars, not a single African American was nominated for an Oscar for hair and make-up, which has nothing to do with skill. It has something to do with the weight that black beauty has compared to the beauty standards you have – and that's unusual.
They have worked on everything from popular contemporary Netflix shows like 13 reasons why, to the indie film with Tessa Thompson hired in the 50s Sylvie's love. F.or you, what's going on in the process of creating looks for all of these different types of characters? And how do you not only deal with different hair textures, but style the hair for different periods in total?
The most important thing for me is research – even if it is up to date. I just finished working Coming to America 2and it had a prototype, so I researched the original film and then compared it to what it would look like now. And in this comparison I finally researched the Afro-Punk scene; It's not mainstream yet, but I admired this scene so much that I got a lot of inspiration for this film from this subculture. Versus, with a show like, 13 reasons why, that also had a template and we followed what the directors wanted. Overall, however, we were able to show hairstyles that hadn't been featured on this show in previous seasons, and advance the direction of hairstyling in a way that wasn't pushed ahead because there was no black barber before.
How do you think film and television help maintain Eurocentric beauty standards? What power do hairdressers have to combat compliance with these standards?
The film industry has so much visual power and how we perceive each other. So if you see a lot of films about slavery and oppression, I appreciate these films and I feel like they are separate from the narrative, but I will be so happy if we can tell more about a person who has an everyday life, and she happens to be black, but they don't have to face so much hardship just because they're black. That's why I'm so proud of this film that we made. Sylvie's love. It is a romantic fantasy, which during the Civil Rights Movement, But its focus is isolated and it is a reminder that black people bloomed and lived their lives out here. I think if we can start telling these stories, it will give a better picture of the whole black experience, and it won't always be shot by just one policeman. These things happen and they are terrible and need to be told, but they don't cover the entire experience. We have to reconcile it with the beautiful stories that also happen.
We have to see the full humanity of being black on the screen.
What was one of the projects you were particularly proud of and why?
So far dolomite was the funniest and most fulfilling project I've ever done. It was just a group of great artists, and many of us grew up in the 70s. It was really fun to recreate this era with an authentic eye. Of course we did some research, but we also knew what things should look like, so it was very rewarding and I was able to hire a lot of my friends in the shop and that was the other part of it that made it so great.
What hair products or tools do you always have on the set?
It's very different from project to project, but I always use a great hair dryer, and that's the most important universal tool. But I used Eco Gel for everything.
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