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The Knot
Poster showing cornrow braids in Amsterdam-West, 2016. Photo by Taufiq Hosen
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Article
Cornrow Culture
Walking around London and Amsterdam, I
see cornrows. Long and swinging, tight and
sculptural, they trace complex patterns in
lines and curves across proud heads. Neat
or showy, cornrows are a potent cultural
signifier of Africanicity. In the words of my
niece Thea, 21, who grew up in a largely
Caucasian community in Britain and is
of mixed ethnicity, wearing cornrows was
a way of experiencing kinship with her
Jamaican family, “like I was fitting in with
that side of my heritage”.
Kylie Jenner, 2015
Historians can point to a continuous tradition of cornrow braiding from ancient
African civilizations such as the Nok of
Nigeria, through the dislocations of slavery
and into the present day hairdressing skillset of the African diaspora. Even where
hair straightening has been the norm, the
practice survived through the braiding of
young girls’ hair to resurface on adult heads
as fashions as the political climate changed.
There is no doubt that cornrows are a
highly creative and symbolically powerful
way of dressing black hair and celebrating
the cultural identities of people of African
descent. But was the media furore justified
when cornrows were fleetingly adopted by
white Kardashian celebrity Kylie Jenner last
year? When David Beckham comments that
his 2003 cornrows were a ‘mistake’, does he
speak of the cringing personal embarrass-
Actress Cicely Tyson, a trailblazer in African inspired
hairstyles, wearing cornrows ‘Pineapple’ style in the 70s.
Photo by Ian Showell/Getty
Text by Sarah Cheang
ment of any past fashion, or does the video
footage of Beckham’s braided head as he
meets Nelson Mandela prompt a deeper
consideration of cultural sharing and cultural appropriation when it comes to hair?
Floella Benjamin, 1977
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If hairdressing is the simultaneous
cultivation of hair, self and society,
then cornrows are a bumper crop.
For some people, these head sculptures mark ethnic identity and kinship. For others, they represent a
flirt with the exotic. In both cases,
what we do with our hair has great
social and personal meaning.
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David Beckham, 2003
Head hair is the most malleable and most
socially visible part of the human body,
so it is not surprising that the things we
do with our hair have great social and
personal meaning. I am a mixed ‘race’
Chinese/English woman — I have ‘mixed
blood’, as Chinese people sometimes say
to me — and my hair is a dark-brown melange of east and west. Though it is straight,
it has a slight wave that undermines any
attempt to achieve a chic Oriental curtain
of hair, yet does not constitute anything
so alluring as a curl. Growing up in the
1970s, I was aware of cornrows as a black
style, positively exemplified by the braided and beaded heads of musician Stevie
Wonder and television presenter Floella
Benjamin, and negatively by Bo Derek in
the film 10 (1979) because to me, somehow, it looked wrong. She was too skinny
and so was her hair. However, as a young
adult in the mid-1980s I begged a hairdresser friend for a perm so tight that my
hair might stand up almost like an Afro,
but not quite. At the time, I thought I was
in pursuit of something unique — that my
chemically-altered mop of corkscrew curls
was an act of pure self-expression — but
now, as a professional fashion historian, I
am forced to reassess. At the same time as
I was expressing my solidarity and personal identification with numerous positions
of otherness, I realize that, like many other
young Europeans in search of a perm,
I was also caught up in fashion’s more
dubious cultural cannibalism, though I
was blissfully ignorant of that fact.
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The Weave
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Bo Derek, 1979
The Afro, also known as the Natural, is a
potent symbol of black power because it
exploits the natural texture of African hair.
This texture was regarded in derogatory
terms as ‘woolly’ by supporters of slavery
in the 19th century, and ‘nappy’ or even ‘bad’
within 20th-century African-American hairdressing cultures that favoured hair-straightening. ‘Nappy’ hair was finally accorded
positive value in America in the context of
the Black Rights movement of the 1970s.
Black beauty was reclaimed with reference to the natural qualities of the African
body as an emancipatory source of identity.
But, at the same time, the Afro was a fashion statement, influencing a generation of
‘groovy’ as well as politically active white
people to adopt Afro-inspired styles.
Lionel Ritchie, 1983
By the 1980s the Afro became outmoded
and the Jheri Curl ruled supreme, a change
in hair fashions that can be demonstrated
by simply comparing Michael Jackson
album covers across the period. The Jheri
Curl was a chemical treatment originally
designed to create tight curls in Caucasian
straight hair, but which was subsequently
adapted to make looser curls in black kinky
hair. It was undoubtedly a crucial factor
in the styling of a generation of young
Caucasians with corkscrew perms in mainstream fashion. To my 18-year-old self,
having already tried punk and goth, notquite-Afro hair was merely the next phase
Cornrows are a highly distinctive
practice that is indisputably part
of African tradition
of my search for something beyond the
nice-girl’s perm, something rebellious
and cool. Like the blackface style of the
Japanese gangura girls or the dreads of
Japanese ‘Yellow B-Boy’ rappers in the
1990s, what is ‘cool’ and ‘just fashion’ might
seem like harmless play, but it is still part
of an important conversation about racial
politics and body styling. Often, it is a
historical underpinning that is absent from
the fashionable consciousness.
Not everyone can wear their hair in
a glorious Afro — even the most vigorous
perm could not really achieve that — but
any hair type can be woven into cornrows.
With skill and patience, the hair is divided
into multiple sections, and each section
is tightly and often painfully braided
against the scalp to form a closely held
line. While many cultures can lay claim to
the plaiting of hair, cornrows are a highly distinctive practice that is indisputably
part of African tradition. In common with
most cultures throughout history, hairdressing in Africa has been closely tied in
with expressions of rank, ideals of beauty
and fashion. In some areas of Africa, sculp-
Cornrow Culture
tural effects on the head have also been
important. To this end, braiding can be
used to produce striking raised patterns,
a variety of textures, and further levels
of artistry can be achieved using the stiff
braids to create gravity-defying bunches, hat-like coils and loops in the air. The
inclusion of beads adds eye-catching colour, and also sometimes a delicate percussive sound as they swing together.
All cultures borrow from one another in search of artistic inspiration, design
solutions and cosmopolitan consciousness.
Fashion cultures use ‘foreign’ or ‘exotic’
motifs, shapes and materials to produce
a novel or edgy look, but in the process
the originating cultures are mythologized
or even ignored. In the fashion media,
non-western cultures as a whole are
frequently regarded as the providers of
traditional, timeless raw materials that
western designers can claim to ‘discover’,
‘improve’ and make aesthetically viable
without needing to credit or financially
reward the skilled artistry of the cultures
that created them. Having social permission to flirt with the exotic with no negative effects on status and opportunity is
also a key aspect of white privilege when
it comes to the history of Caucasian cornrows. While some white women wore them
as a fashion statement in the Bo Derek era,
court cases reveal that African-American
women were facing dismissal from the
workplace because their well-groomed,
practical and culturally appropriate cornrows were being branded an ‘extreme’
style by their employers.
Venus and Serena Williams, 2000
The argument that Caucasian cornrows
honour black culture rather than exploiting it is also hard to sustain where much
fashion journalism is concerned. In 2014,
model Kendall Jenner’s small patch of
cornrows above her left ear was cited as
taking braids to ‘a new epic level’, a statement that gives no cultural credit to the
rich history of black hairdressing and
instead suggests that the use of cornrows
within mainstream fashion is some kind
of improvement that African cultures have
never made. The braiding and beading of
white tourists’ hair on a Caribbean beach
is harmless enough, but the fashionable
framing of Bo Derek and the Khardashians
overwrites the creative genius of the
African diaspora.
Ludacris, 2003
Dress historian Carol Tulloch writes in her
latest book The Birth of Cool that black cool
has historical depth; it is an act of black
aesthetics as well as a tool for being black
in everyday life. Both my niece Thea and
her brother Joshua knew that their cornrows were a cool way to mark their specific
ethnic identities in a sea of British whiteness at school and experience their sense
of otherness in a way that drew admiring
and envious glances. As a young mixedrace male, Joshua remembers that his
point of reference was the rapper and actor
Ludacris. But going to his mother to ask for
gangsta-style cornrows also involved him in
hours of weekly braiding sessions that wove
more than just hair. The time, attention and
physical proximity of this kind of hairdressing enables the creativity of mothers, sisters,
aunties and friends to be interwoven with
close relationships and a sense of connection, at home or in the salon. Hairdressing
is, after all, the simultaneous cultivation of
hair, self and society. A fine crop of cornrows is personal as well as spectacular. They
may be planted on any head, but where and
how the roots grow is another matter.