White Privilege In The Urban Hair Industry

Black Hair White Effect: White Privilege in the Urban Hair Industry

Ngoziabata Hunter

Whether it’s extravagant haute couture or simply casual, hair styling has created a common denominator in the lives of humans globally. But hair, being the unifying code for people of all ethnicities, hides the racially fueled battleground behind the extensions, locs and overall presentation of Black and White hairstyling. The appropriation of urban hair and the blatant/subtle racism upscale hair stylist display are key to the foundations of white privilege.

Undoubtedly, Whites appropriation of urban hairstyles, is for lack of better words plain ignorant and showcases white privilege. In a recent blog update by a notable fashion hair blog called Mane Addicts,

the writers mistakenly credited the origin of Bantu knots to Guido Palau (a white hair stylist) re-naming them “mini-twisted buns”.(Beckom) This mix-up, however, proves that the appropriation of urban hair is taken lightly and looked at as unimportant. The mix-up caused immediate backlash from the Black community because it did not recognize the importance of what the style stands for. This inadvertently broadcasted to African-Americans that there is a high disregard for their ancestry being that Bantu Knots originated from the early Bantu civilizations in West Africa which is where majority of the slaves taken from. In likeness to how the Great White Flight, when “urban renewal construct[ed] a new “white” identity in the suburbs…”(Lipsitz) ,the appropriation of urban hair styles constructs a false sense of identity and ownership to the White community and displays a lack of concern for the urban hairstyles origin. Moreover, when Blacks wear locs they are considered thugs, pot heads and criminals, by contrast, when Whites wear locs they are considered bold, chic or free-spirited. In this case locs are a prime example of racial formation. Racial formation is “[the] process by which racial categories are created, inhabited, transformed, and destroyed” (Omi, Winant). To clarify, when actress/singer Zendaya Coleman sported faux locs at the Oscars earlier this year, she received public humiliation by one of the Fashion Police hostess’s Giuliana Rancic. Rancic went on to say "I feel like she smells like patchouli oil" (Wilson) on live television sparking laughter from the audience and fire in the eyes of Black women. In contrast, Kylie Jenner is called edgy, sexy and Hollywood Life goes as far as to question “how are Kylie’s parents, Kris Jenner, 59 Bruce Jenner, 65, going to react to her dreadlocks?” (Shaffer) This places emphasis on a separate but equal ideal, though both young ladies sport the same faux locs only one (because of her Black identity) is broadcasted as a dope head. For lack of better terms, in today’s society white women can pull off urban hairstyles better than Black women. Supposedly.
Furthermore, white privilege is displayed by white high-end hairstylist who fail to acknowledge and prepare for Black clientele and for White hairstylist in general.

High fashion model Jourdan Dunn has had enough with white hair stylist damaging her natural hair and opted out for wigs to avoid the dilemma that Afro-hair causes for her white hair stylist, this does not mention the fact that these same white stylist have no problem styling white model’s hair without any damage done to it. As stated in Privilege, Power and Difference “the ease of not being aware of privilege itself [is] what some call ‘the luxury of obliviousness’” (Johnson) with that said white women are oblivious to the fact that both White and Black hairstylist are capable of styling their hair whereas Black women’s only option are other Black hairstylist. It is also stated that “race privilege gives whites little reason to pay a lot of attention to African-Americans…” (Johnson) which holds true to the unspoken code of “white hair only” in numerous upscale salons. Following the advice of magazines ranging from Harper’s Bazaar to Allure, Aja Mangum visited top-notch salons to get her hair styled but instead of walking out of the salon with the Promised Land equivalent of hair she walked out with “a dull, dry, puffy mess” (Mangum). Thus, the lack of effort put forth into the knowledge of urban hair is definitely alarming for this day and age but expected. It goes as far as to show that White hairdressers refuse to “lower their standards”, “skill” and associate with Black hair while Black hair stylist (in order to make a name for themselves) have experience in both White and Black hair. Take a look at WE TV’s reality show, L.A Hair, Kim Kimble a renowned hair stylist shows off her diverse skill set as she works on both White and Black hair. In contrast, Kimble’s new business partner, Jonathan Antin, (Another one of Hollywood’s hairstylist) has strictly dealt with white hair fully supporting

Johnson’s idea on “race privilege” (mentioned above). Though Kimble displays talent on both, Whites and Blacks, Antin who only styles White hair is equally if not better known than Kim Kimble. Notably, creating a distinguishing point between Black and White hairstylists.
All in all, hair is the identifying factor of culture worldwide, whether it’s long or short, coily or straight. But hair, no matter how unifying it is, is also a racially fueled battleground, well-hidden, between Whites and Blacks. That is why the appropriation of urban hair styles and the blatant/subtle racism upscale hair stylist display are key to the foundations of white privilege and serves as the reason behind slow progression of true culture appreciation.