Exploring the Power of Hair in Character Storytelling and Self-Expression
As an actress, how does your hair serve as a vehicle for enhancing your characters’ storytelling?
It tells the period of time that we live in and the story of the character. When I was shooting Coming to America, the lead hairstylist and makeup artist were like “we should do faux locks, the textured faux locks, because she’s a hairdresser.” What does a hairdresser look or feel like in the world? Most hairdressers love to experiment with their hair, so she was like, “let’s do long, chunky, textured faux locks” and I loved it because it gave a goddess kind of feel. Then you jump to the 1700s, 1800s with uNandi and she’s got isicholo (traditional Zulu headdress). What did icholo look like back in the day, when you look at research and you look at history? But also you look at when she was still a young princess.
When you see pictures from the 1800s of what textured hair looked like and the gravity it held, they used cow fat in the hair to structure it and give it a shape. So for me, when it comes to playing characters on screen, you tell the story of the time. Sometimes it’s about a period piece and it has to be informed by the hair as well as the costume.
If it’s a modern thing, who is she in the world? What character is she? How is she relating to the world and how does she relate to herself?
You’re such a hair style chameleon. How has your hair journey influenced your confidence and self-expression? For me, hair can be a political statement depending on where I am, which carpet I’m walking on. What am I saying? I’m always speaking with my hair, especially when it’s big or taking on a different shape. I love the architectural style that it gives.
Do I want to be elongated or do I want to feel grounded? I’m always thinking to myself, what are we feeling? What are we walking into the space feeling like? For me, hair has always been a message, whether it’s to myself or to society. You look at me at the Met, that hair was specific. I said, this is what we’re going to do because we are commanding a space. If you say that it’s black tailoring, black is not only in America, black is all over the world, and what does it mean in Africa? To be able to represent almost the horns of a bull, so that’s the statement of it.
With uNandi (Shaka iLembe) this is a queen mother. What does a queen mother feel like? So let’s take isicholo but let’s make hair. So hair always speaks, and sometimes when I’m in my honey blonde I’m like “Beyoncé has entered now”, I’m feeling fun and cute. When I have my short pixie and in my natural state as well, I’m just allowing my hair to feel the gravity of the sun and wind. I hardly have days where hair is not an accessory in my life, so I have to be able to take care of it and make sure that I use the right products. I choose my hair stylists very carefully because I do not want anybody who does not care about what grows out of my scalp because they want to create what they want to create. Do you understand that you’re pulling? How are you touching my hair? I’m very conscious about that because I want to always make sure that I take care of what grows out of my scalp.
Exploring the Power of Hair in Character Storytelling and Self-Expression
As an actress, how does your hair serve as a vehicle for enhancing your characters’ storytelling?
It tells the period of time that we live in and the story of the character. When I was shooting Coming to America, the lead hairstylist and makeup artist were like “we should do faux locks, the textured faux locks, because she’s a hairdresser.” What does a hairdresser look or feel like in the world? Most hairdressers love to experiment with their hair, so she was like, “let’s do long, chunky, textured faux locks” and I loved it because it gave a goddess kind of feel. Then you jump to the 1700s, 1800s with uNandi and she’s got isicholo (traditional Zulu headdress). What did icholo look like back in the day, when you look at research and you look at history? But also you look at when she was still a young princess.
When you see pictures from the 1800s of what textured hair looked like and the gravity it held, they used cow fat in the hair to structure it and give it a shape. So for me, when it comes to playing characters on screen, you tell the story of the time. Sometimes it’s about a period piece and it has to be informed by the hair as well as the costume.
If it’s a modern thing, who is she in the world? What character is she? How is she relating to the world and how does she relate to herself?
You’re such a hair style chameleon. How has your hair journey influenced your confidence and self-expression? For me, hair can be a political statement depending on where I am, which carpet I’m walking on. What am I saying? I’m always speaking with my hair, especially when it’s big or taking on a different shape. I love the architectural style that it gives.
Do I want to be elongated or do I want to feel grounded? I’m always thinking to myself, what are we feeling? What are we walking into the space feeling like? For me, hair has always been a message, whether it’s to myself or to society. You look at me at the Met, that hair was specific. I said, this is what we’re going to do because we are commanding a space. If you say that it’s black tailoring, black is not only in America, black is all over the world, and what does it mean in Africa? To be able to represent almost the horns of a bull, so that’s the statement of it.
With uNandi (Shaka iLembe) this is a queen mother. What does a queen mother feel like? So let’s take isicholo but let’s make hair. So hair always speaks, and sometimes when I’m in my honey blonde I’m like “Beyoncé has entered now”, I’m feeling fun and cute. When I have my short pixie and in my natural state as well, I’m just allowing my hair to feel the gravity of the sun and wind. I hardly have days where hair is not an accessory in my life, so I have to be able to take care of it and make sure that I use the right products. I choose my hair stylists very carefully because I do not want anybody who does not care about what grows out of my scalp because they want to create what they want to create. Do you understand that you’re pulling? How are you touching my hair? I’m very conscious about that because I want to always make sure that I take care of what grows out of my scalp.
Hair as a Canvas: How One Actress Uses Her Tresses to Tell Stories
In the world of acting, every detail counts, and for one talented actress, her hair serves as a powerful vehicle for storytelling. From historical dramas to modern-day narratives, her hair choices reflect not just the character she embodies but also the cultural and emotional landscapes they navigate.
During the filming of Coming to America, the actress collaborated closely with the lead hairstylist and makeup artist to create a look that resonated with her character—a hairdresser. “We decided on textured faux locks,” she recalls. “It gave a goddess-like feel, capturing the essence of a hairdresser who loves to experiment.” This choice was not just about aesthetics; it was about conveying the character’s identity and passion.
Transitioning from contemporary styles to the regal looks of the 1700s and 1800s, she delves into the historical significance of hair. Portraying uNandi, a traditional Zulu queen mother, she researched the isicholo, a traditional headdress, to ensure authenticity. “What did icholo look like back in the day?” she pondered, emphasizing the importance of hair in understanding a character’s time and place.
For her, hair is more than just an accessory; it’s a narrative device. “It tells the story of the time,” she explains. “Sometimes it’s about a period piece, and it has to be informed by the hair as well as the costume.” In modern roles, she considers how her character relates to the world and herself, using hair to express those nuances.
Her hair journey has also been a personal exploration of confidence and self-expression. “Hair can be a political statement,” she asserts. “What am I saying? I’m always speaking with my hair.” Whether it’s a bold, architectural style or a more grounded look, she uses her hair to command attention and convey messages—especially on high-profile occasions like the Met Gala.
“I choose my hair stylists carefully,” she emphasizes. “I want someone who understands the importance of what grows out of my scalp.” This conscious approach reflects her commitment to self-care and the cultural significance of her hair.
From embodying a queen mother to channeling the fun spirit of pop icons, her hair is a dynamic part of her identity. “When I have my honey blonde hair, I feel like Beyoncé has entered now,” she laughs. “But when I’m in my natural state, I’m just allowing my hair to feel the gravity of the sun and wind.”
As she continues to navigate the world of acting, one thing remains clear: her hair will always be a vital part of her storytelling arsenal, a canvas for creativity, culture, and self-expression.
