Black women showing confidence through their hair can be seen across the field of television shows this season. Sheryl Lee Ralph’s motherly role on ABC’s “Abbott Elementary” and Cassandra Freeman’s Aunt Viv coming into her own on Peacock’s “Bel-Air” are just two examples of Black hair telling a story and informing audiences about their characters. And there are more in the mix, as department heads from Netflix’s “Queen Charlotte” and Hulu’s “Unprisoned” will also vie for Emmy consideration.
“Abbott Elementary” hair department head Moira Frazier relied on decades of experience and her relationship with the cast to create signature looks for the characters that reflect growth and evolution.
Frazier gave Ralph a short cut with a side swept bang, a look the artisan associates with a woman who’d want her appearance to be as neat and convenient as possible — yet stylish. The look also reflected Barbara’s boldness and confidence.
“I imagine her going to the salon and telling her hairstylist, ‘Can you cut this a little shorter so I can deal with it? I just want to wrap it up at night, throw some rollers in and keep it moving,’” says Frazier.
ABC
Quinta Brunson’s Janine, hopelessly optimistic and fashion challenged, had a dark brown shoulder-length wig. “Janine is at a point where she’s taking time to part her hair, apply products and soften her texture,” says Frazier. “She uses a curl activator so that when she goes to where she’s going, she’s going to look more put together. She’s taking care of business.”
For Janelle James’ Ava, Frazier made custom wigs.
“Ava takes pride in her appearance. She has the latest everything,” Frazier explains. “We wanted to play with those textures and the colors this season to bring out her skin tone because honey blonde on her skin tone slays and brings out her facial features. Every time she moves her head, she moves with authority, sassiness, and boughettoness.”
For Amazon Prime’s “Swarm,” Deaundra Metzger constructed multiple hair pieces of varying lengths and textures to fit the emotional and mental evolutions for Dominique Fishback’s Dre, a superfan of a famous singer.
Dre’s evolves throughout the series; as a shy and awkward young woman, Metzger styled her hair “in two puffs with bangs that lends itself to her air of naivete.” Meanwhile, by the end, she’s wearing a long ponytail to represent confidence. “When I was creating that look, I thought of it as she’s developing strength,” says Metzger. “She’s more reassured in herself.”
In another scene, Dre takes her wig off — a moment that showed Metzger a bold moment, reflecting the evolution. “I wanted to highlight her beauty, but also to relay the message that she’s definitely stronger and more confident in herself.”
The politics of Black hair and the representation of Black women in the upper echelons of society were at the forefront for Araxi Lindsey, hair department head for Peacock’s “Bel-Air.” (Photo above.)
Aunt Viv’s image echoes the way she uses her art to speak to the past and present struggles of Black women in America, as well as her own inner crisis.
Lindsey decided that having Freeman’s hair in its natural state with intricate cornrowed and braided styles reflected all these aspects of such a nuanced character.
“It’s regal. I’ve had many neurosurgeons that had their hair pinned back in braids in a nice chignon,” she says. “It’s us putting an Afro-centric twist on something that has an American Standard.”