Jul 4, 2018

Pink Combs and Brushes

Photograph by Tom Kiefer, 2012. Via the New York Times

For over 10 years Tom Kiefer, a Customs and Border Protection center janitor, collected items confiscated by Border Patrol agents from migrants crossing the United States border with Mexico.

Combs, brushes and mirrors were considered nonessential and possibly dangerous, he said.

Emotional Healing Through Hair

Photograph by Gabriella Angotti-Jones.
So many of us have been touched by the plight of mothers and fathers being separated from their children after coming to the United States seeking asylum. In New York, one story stands out. A Guatemalan woman named Yeni Gonzalez was detained in Arizona, but her children were being held in New York. Her bond was raised by a GoFundMe campaign, and her travel across the country to be reunited with her children was facilitated by a relay of cars taking her leg-by-leg over 2000 miles.“The day Ms. González was released, the women braided her hair and, defying orders not to touch or embrace, they lined up to hug her goodbye.” The organizer of the GoFundMe page told reporters that more than anything, Gonzalez can't wait to comb her little girl's hair. 1. 

The full story of her journey is recounted in this New York Times story. 

1. https://patch.com/new-york/bushwick/s/gglk5/guatemalan-mom-reunites-with-kids-in-harlem-after-ice-separation

Mar 31, 2018

Banned Hair: The Case of Dreadlocks / Dredlocs

“Bob Marley is the person who taught me to trust the universe enough to respect my hair.” ~ Alice Walker

In 2016 the 11th U.S. Circuit Court of Appeals ruled that it was not discriminatory to make hiring and firing decisions based on whether someone has dreadlocks.

The suit, brought by the Equal Employment Opportunity Commission against Catastrophe Management Solutions, argued that dreadlocks are a “racial characteristic” and that using them to deny the hiring of someone is inherently discriminatory and a violation of the Civil Rights Act of 1964’s Title VII.

The court of appeals ruled that hair is not an “immutable physical characteristic,” that a person’s appearance is, in this respect, changeable and therefore not protected. I suppose this is true, seeing as today all sorts of folks can don a head of locs regardless of race or ethnicity.

Image of a Sadhu in Varanasi, India, 2009. Via Wikimedia by Pierre-Emmanuel BOITON

Matted hair is a feature of Hindu sadhus and also familiarly associated with Rastafari, who adopted the style in the 1950s as an authentic expression of their faith and to reinforce their non-conformist ideology.1. For the Rastafari, dredslocs were potent symbol of both one’s spiritual commitment and cultural resistance.2.

Angela Davis. Photo by Andrew Stawicki, 1988, Toronto Star Archives

During the 1980s a number of prominent African Americans (such as Basquiat, Tracy Chapman, Angela Davis, Whoopi Goldberg, and Alice Walker) brought attention to the style, contributing to its adoption by the mainstream. There was pushback at the time to this “Americanization of dredlocs,” notably in a 1991 Essence editorial entitled “The Dreaded Decision” by Naadu Balnkson.  Did the fashionability of dreds come at the expense of their religious and cultural significance? Criticism was leveled at black Americans for secularizing a religious practice, and at those outside the African American community for cultural appropriation.3. 

This 2016 court decision shows that regardless of whether dredlocs are considered ‘mainstream’ or not, they continue to be used as an excuse to discriminate, harass, intimidate, and oppress.

L: François Fleischbein, Portrait of Betsy (his housekeeper, a free woman of color), 1837. The Historic New Orleans Collection, 1985.212 /  M: Source /
R: Jacques Guillaume Lucien Amans, Creole in a Red Headdress, circa 1840. The Historic New Orleans Collection, 2010.0306

Afro hair has historically been demeaned -- an affront to white American culture. Laws against the public expression of natural, Afro hairstyles go back at least as far as the late 1700s in New Orleans, when women of African and multiracial heritage were banned from wearing their natural hair in public by Tignon laws.4. These sumptuary laws required Creole women to wear a headcovering (a tignon) and were implemented to curtail the growing influence of the free black population.5.

In The Hair Dilemma, an academic paper published by the Duke Journal of Gender Law & Policy in 2007, the authors draw attention to other litigation around Afro hairstyles including McManus v. MCI Communications Corp. (2000), in which McManus, a Black woman, argued that she was fired for wearing her hair in braids and dreadlocks; Hollins v. Atlantis Co. (1999), in which the plaintiff who came to work with her hair in “finger waves” claimed that her employer’s policy prohibiting “eye catching” hairstyles was discriminatory; and Rogers v. American Airlines, Inc. (1981), where a Black woman was fired for wearing her hair in braids. “These cases demonstrate how “ethnic” hairstyles are not welcome in the corporate world.’

In 2013 seven-year-old Tiana Parker was sent home for coming to her Tulsa, Oklahoma school with dredlocs. The school claimed it went against their dress code, which stated, “hairstyles such as dreadlocks, afros, mohawks, and other faddish styles are unacceptable.”

And in Tennessee, you must have a license (acquired at great time and cost) to braid hair or face stiff fines, as reported just this week at Forbes.com. Author Minh-Ha T. Pham notes, “White designers like Marc Jacobs put fake dreadlocks on white models and make tons of money - all without permission - but Black women doing Black people's hair are being heavily fined for not having a license.”

Such legislation and work/school policies shame and degrade women for their hair. This institutional racism can lead to internalized racism, whereby women are made to feel their Afro hair is unkempt or unattractive. In order to conform to Western hair ideals and white standards of beauty, these women endure chemical straighteners or expensive weaves or extensions.

However, social awareness can change policy. Tiana’s school reversed their policy shortly after the student transferred. And interestingly, while the Army has long outlawed dredlocs (Army Regulation 670–1, 2014 policy stating: Any style of dreadlock (against the scalp or free-hanging) is not authorized. Braids or cornrows that are unkempt or matted are considered dreadlocks and are not authorized), a 2017 Army directive countered that prohibition with the following language:
Female soldiers may wear dreadlocks/locks in accordance with the guidance in paragraph 3-2a(3)(f) for braids, cornrows, and twists.

One Army Captain noted, via a New York Times article, “It caused a lot of unnecessary stress. It was an exhausting 14 years.”
Even when she worked to stay within the regulations, there was constant scrutiny by higher-ups, she said, adding that black women felt as if they were “walking targets” because the regulations were subject to interpretation.

But, without a doubt, written and unwritten rules about “grooming” and “dress codes” serve as means to discriminate and devalue Blackness. These rules have allowed schools, corporations, and even the United States military to distort social norms and limit the beauty of Blackness by condemning hairstyles such as cornrows, braids, twists, and dreadlocks.

Hair “not only symbolizes the self but, in a very real sense, it is the self since it grows from and is part of the physical human body.”6.

1. Barry Chevannes in Rastafari and Other African-Caribbean Worldviews, Rutgers University Press, 1997, p77 and p82)
In the late 1940s a Rastafari group called the Youth Black Faith believed leaving hair uncombed was the truer reading of the scriptures. (The Nazarite Vow in the book of Numbers states: “'All the days of his vow of separation no razor shall pass over his head. He shall be holy until the days are fulfilled for which he separated himself to the LORD; he shall let the locks of hair on his head grow long.” http://biblehub.com/numbers/6-5.htm)
Chevannes asserts that Rastafari embraced dredlocs to maintain associations with the unkempt and outcast and in opposition to White and mainstream Jamaican cultural identity. Another historical interpretation is that dredlocs were adopted by Rastafari “out of admiration and reverence for the fearless resistance of the Kikuyu soldiers of the Mau Mau rebellion in Kenya.” (see Hair Story page 121)

2. I use the spelling dredlocs over dreadlocks, in deference to those who ascribe the word’s derivation as being from the description of arriving slaves as “dreadful.” However, Chevannes explains that dreadlocks comes from The Dreadfuls (or the Warriors), named for those more aesthetic and disciplined. “The term Dreadful and Warrior reflected the manner in which the ascetics behaved: constantly ‘at war’ with the neglectful, in whom they inspired dread.” p84

3. Ayana D. Byrd and Lori L. Tharps, Hair Story: Untangling the Roots of Black Hair in America, St. Martin’s Griffin, 2014, page 123.

4. The word tignon, pronounced tiyon, was a regional term in New Orleans for headscarf. It derived from the French word chignon which, in the late 18th century, referred to a hairstyle where the hair was pulled back in twists or knots.

5. The tignon laws were intended to “force the free women of color to symbolically reestablish their ties to slavery by wearing the kerchief, the garment traditionally worn by slave women to signify their status as workers. (Plaçage and the Louisiana Gens de Couleur Libre: How Race and Sex Defined the Lifestyles of Free Women of Color” by Joan M. Martin in Creole: The History and Legacy of Louisiana's Free People of Color edited by Sybil Kein, p. 62.)

6. Anthony Synnott, ‘Shame and Glory: A Sociology of Hair,’ British Journal of Sociology, 38 (3), p404.

Apr 9, 2017

The Art of the Wig

“An undescript head of hair is the most difficult thing to accomplish.” 

Raffaele Mollica has been making wigs since the 1970s. The New York Times stepped into his studio, where he weaves "the hair one strand at a time" to create pieces that sell for thousands of dollars. “It’s tremendous labor and all that labor is art.”

In their accompanying piece about wig-making in New York City, The New York Times tells us about other artistes, such as Nicholas Piazza. It is the story of a fascinating but dying world – one that I have wondered about for some time because I have walk past the numerous, cubbyhole shops selling human hair in midtown for years.

Wigs at Nicholas Piazza’s studio in Manhattan. CreditDemetrius Freeman for The New York Times

It's great to see the writer included the deeper, political story of hair by referencing the work of Emma Tarlso and the FTC's brief regulatory guidelines (1970-1995) on labeling hair.

Jan 11, 2017

Fleas in My Hair

WWII U.S. Army Corp Nurses Washing Their Hair, 1945.
from the collection of U.S. Army nurse Joy Lillie at Grand Rapids.Historical Commission
"Joy went for 30 days without taking a bath when she first arrived."

"I do not mind not washing for a week or more, but I do hate getting fleas in my hair." 

Clare Hollingworth,
the war correspondent who broke the news of the outbreak of World War II, in her memoir.
Ms. Hollingworth died at 105 on Tuesday, January 10, 2017.

Jul 17, 2016

Hair by Sam McKnight

There is another exhibition on hair coming. (I failed to write up the one in Utrecht earlier this year, but will one of these days....) This one, Hair by Sam McKnight, will feature fashion photographs!

The exhibition will be on view at the Somerset House in London from 2 November 2016 – 12 March  2017. Here's the press release. Of course, I question the claim I've formatted in boldface below. I predict a bunch of fashion photos on the wall with some brief didactic text introducing the exhibition. Call me cynical.

This autumn, Somerset House is proud to present Hair by Sam McKnight, a major exhibition celebrating the master hairstylist’s remarkable 40 year career, from the late 1970s to the current day. An integral part of the fashion industry, Sam has been instrumental in helping to develop the images of Kate Moss, Linda Evangelista, Christy Turlington, Naomi Campbell and Princess Diana among many others. He is one of the first session stylists to have carved out a career solely within fashion, having worked on hundreds of fashion editorial shoots, advertising campaigns and catwalk shows. He has shot over 100 covers for British Vogue alone, as well as numerous other magazines and worked with most international fashion designers from Chanel to Vivienne Westwood.

The exhibition will unveil the little-known creative process behind the craft of hair styling within fashion and explore the relationships between McKnight and key, long-term collaborators; photographers such as Nick Knight and Patrick Demarchelier, models including Kate Moss, Stella Tennant and Christy Turlington, stylist Lucinda Chambers, and designer Karl Lagerfeld.

This will be the first exhibition of its kind, looking at hair from a new perspective and contextualising its wider cultural significance and the role of the session stylist within fashion. It will include some of the most iconic images in popular culture and some of fashion’s most memorable looks, from Princess Diana’s short, slicked back style to Madonna’s Bedtime Stories, and Tilda Swinton channelling David Bowie, tracing different movements and hairstyles, from nostalgic to androgynous, romantic to sexy, red to platinum, cataloguing the transformative nature of hair within the image.

Exhibiting pieces from Sam’s extensive archive, gathered over his 40 year career, the exhibition will feature photography, magazines, catwalk and behind-the-scenes footage, private photographs and full outfit looks as well as commissioned wigs and hairpieces. Grouped into thematic sections, the exhibition will explore process, relationships and collaboration, movement, transformation, the shoot and the catwalk. Throughout the exhibition a visual timeline will trace not only Sam’s career from the late 1970s to today, but also track changing styles through time; exploring the relationship between fashion shoots and the street in influencing contemporary hair styling.

To be published at the same time as the exhibition, there will be a book by the same name, Hair by Sam McKnight with texts by Tim Blanks, Alexander Fury, Amanda Harlech, Nick Knight, Camilla Morton, Anna-Marie Solowij, Jerry Stafford and commentary by Sam McKnight featuring images spanning his entire career. Richly illustrated, it features photographs by leading fashion photographers and styles commissioned by Vivienne Westwood, Balmain, Chanel, and many others.  A unique reference book that offers a glamorous tour through the past forty years and a style bible for glorious looks, the book is published by Rizzoli and priced at £35.00.

The exhibition is curated by Shonagh Marshall and exhibition design is by Michael Howells.

Jul 2, 2016

Cutting Hair

Photographer Wallace Kirkland - "Cutting hair" - 1947. Public domain image.

Every summer from 1912 until 1963, children from the steamy and congested streets of Chicago's Near West Side ran and played amidst the wildflowers and trees at the Joseph T. Bowen Country Club. Located on 72 acres of forest, field, and ravine near Waukegan, Illinois, the Bowen Country Club was the summer camp of the world famous Hull-House social settlement house. Financed by philanthropist and social activist Louise deKoven Bowen, the camp sought to provide a sojourn in the country as a necessary antidote to the stresses of city life. Prominent Chicagoans donated funds to build sleeping cottages and children and mothers were invited to the camp for two-week rotations. Days were packed with activities such as swimming in the camp's circular pool, team and individual sports contests, classes in folk or rhythmic dance, games, parties, and art lessons. After a hearty meal in the Commons dining room, a campfire and sing-a-long often ended the day.

~ Via University of Illinois at Chicago Library