The “terrifying and high-anxiety” reality of performers sitting in trailers on sets with artists unfamiliar with handling Black hair and makeup was detailed in a story published on Refinery29 in 2019 with the title Black performers Are Getting Huge Roles In Hollywood, But Still handling Their Own Hair. Using the hashtag #ActingWhileBlack, other Black actresses from that year, such as Gabrielle Union, Yvette Nicole Brown, and Natasha Rothwell, discussed horror stories from H&MU on Twitter (now X). After a year, Kat Graham gained widespread attention when, in a Vogue video, she sobbed while discussing how she had to cover up her real hair for every role she had ever performed, including The Vampire Diaries.
She sobbed, “I wish I could play a character that I actually look like one day.” Shalita Grant, star of You, told me about launching her own natural hair care line when we spoke in 2021. She explained that her 4C hair was destroyed while filming NCIS: New Orleans. She told me, “Even though a curlier texture would have made a lot more sense in New Orleans, they were committed to me hiding my natural hair.” “We had been in the trailer for hours trying to make my hair look like something it wasn’t. After that show, I had a bald spot in the middle of my head.”
When Graham broke down in front of makeup artist Danessa Myricks last year, it went viral once more because it was the first time she had worked with a Black artist. Additionally, Academy Award winner Da’Vine Joy Randolph told me earlier this year that, in The Holdovers, she had to battle “tooth and nail” for true Black hair and cosmetics.
There are countless more tales from Black women in Hollywood over the course of five years, all of whom should have been allowed to concentrate on their careers rather than having to deal with inept hair and makeup artists who weren’t doing theirs. Because of how common these stories have become, hair discrimination on set was a major topic of discussion during the most recent SAG-AFTRA strike, which resulted in a new agreement that includes a part on hair and makeup that requires better working conditions for performers of all skin tones and textures of hair. It is now the responsibility of the studios and networks to implement the required adjustments in order to prevent these upsetting experiences with Black talent.
In addition to setting a fantastic example for others in the business with their pre-strike work with NBCUniversal Launch, The Black Beauty Roster is ensuring that a new standard is created.
What Is Black Beauty Roster?
Maude Okrah, the CEO and creator of Black Beauty Roster (BBR), tells me over Zoom, “At BBR, our mission is to ensure that we’re bringing more meaningful and intentional diversity into the industry, especially in the entertainment and beauty industry.” Okrah was founded in 2020 in response to the so-called “racial reckoning,” which occurred at a time when people were beginning to recognize the difficulties Black people encounter in the workplace. Okrah saw this as an opportunity to take action rather than only raise awareness of the issue. “I’m sure we’ve all seen the tweets, read the articles, and heard the stories about talented people who feel like they can’t speak up,” remarks Okrah.
“A lot of us really sat down in 2020 and thought, ‘What more can we do?'” Okrah made the decision to establish a platform for diversity and inclusion that links qualified beauticians with the industries (TV, film, fashion, commercials) that require them, both on and off set. She also decided to educate hiring executives and decision makers who have the authority to alter set operations. That’s how BBR got its start, and today it’s offering practical answers to one of the most avoidable issues facing the sector.
The usual justification for the absence of diversity on sets, particularly behind the camera, is “well, we just couldn’t find the talent!” maintaining the stereotype that white people are the only competent people in the sector. Well, now that BBR is in place, that justification is invalid. Brands (BBR collaborates with NBC, L’Oréal Groupe, Spotify, and IMG, among others) can access the talent pool in one convenient location for all of their hair and makeup requirements, whether they are for photoshoots, press tours, on-set work, film premieres, or other events.
“Our meticulously selected network of beauty experts embodies the pinnacle of expertise and creativity. According to the Black Beauty Roster website, “They have an innate understanding of the subtleties that make each individual beautiful in their own right.” They create unforgettable moments by embracing the diversity of varied hair textures and mastering the art of blending.
With a resource like this, you would think that hair prejudice on sets would be a thing of the past, yet there are still a ton of accounts from actors who have encountered problems. Golda Rosheuvel, who plays Queen Charlotte in Bridgerton, told me last month that she cried at her first appointment with Erika Ökvist, the show’s makeup and hair designer. “It was the first time I had spoken with a department head of that caliber, or with anyone for that matter,” Rosheuvel remarked. “We talked about how she was going to use my own hair in the looks, and how important it was for her to work with a variety of Black textures in order to truly celebrate my Blackness.”
Dark Beauty The goal of Roster is to guarantee that each department head gets the information and inspiration to embrace a variety of hair types. Additionally, a crucial component of their collaboration with NBCU involves educating executives, department heads, and other influential figures on how to avoid creating situations in which actresses cry before someone screams for “action!”
It Starts With Education
Okrah and Jeanne Mau, Senior Vice President, TV Programming Diversity, Equity and Inclusion at NBCUniversal, have kindly offered to walk me through the cooperation between BBR and NBCU, including what an executive training session entails. We will be speaking over a Zoom call. Of the unique training, Mau remarks, “the educational component that has been such a game changer in our business was developed in collaboration with BBR, licensed psychologists, and industry experts.” Senior decision makers in creative and production at NBCU get diversified hair and makeup allyship training that includes a wide range of subjects, from subtle instruction on textured hair and makeup application techniques to an important backdrop of the history of makeup in TV and movies.
The training also goes into great detail about how a performer’s emotional well-being can be negatively impacted by inappropriate hair and cosmetics care. Black actresses worry about things that their white counterparts don’t have to worry about, such their hair taking twice as long as the allocated time and still looking messy, or whether the makeup artist is using the correct shade. This can affect her readiness for the upcoming workday and, in turn, the output as a whole. According to Mau, “How do we thoughtfully and authentically think about [timing] when we put somebody in hair and makeup? ” was one of the main issues that motivated this collaboration.
And how can we afford to give the show the time it needs to get it right? “There are concerns about choosing the right person for hair and makeup, but more importantly, how do we make sure that the person occupying the chair has enough time to complete the tasks required in order for them to arrive on set and perform their duties?” she says.
This is the distinctive quality of this instruction. Talent in front of the camera and the makeup and hair artists in the trailers are frequently the center of attention. Even with all those essential components, though, you could still be vulnerable to an ineffective system. When Black artists are not given enough time and end up running over, it is easy to criticize talented people as “divas” or H&MU technicians as unprofessional. The issue has been that executives at the top don’t know what this crucial aspect of the business requires or how long it takes.
During the training, Okrah tells me, “What made me take a step back and pause was I realized that a lot of people want to do the right thing, but they’re not sure exactly what to do.” And for that reason, education became one of our main pillars in the job that we conduct. More Black talent is now in front of and behind the camera thanks to the industry’s advancements over the years, but it’s important to make sure that these creatives are encouraged and safeguarded. The first step is education.
“In certain cases, and particularly in the last ten years, we’re telling stories that look like the communities we live and work in for the first time,” adds Okrah. To guarantee that talent is supported, one of the concerns we’ve posed is, “How are we diversifying behind the camera, and are we diversifying as fast as we are diversifying in front of the camera?”
Unconscious prejudice and, to be honest, misunderstanding of the complexities of Black hair and its history contribute to the lack of understanding and support for this community. “We talk a little bit more on important moments in textured hair,” according to Okrah, during the session. “From recounting the tale of what prompted the Black community to begin straightening their hair in the early 1900s. Next, we discuss the shift that occurred in the 1960s and 1970s, when Black women in particular came to embrace their natural hair and how that was seen as a sign of rebellion.
The instruction Okrah receives then transports us back to the 1980s, complete with relaxers and jheri curls, and even to the Crown Act. According to Okrah, “you have a little bit more of an understanding of the historical context and why this work is so important if you’re going to advocate a champion.”
We then dive into the science behind it all. The training delves deeply into understanding various hair kinds, consistency, and care, as well as the differences between round and oval follicles in textured hair. According to Okrah, “Black talent is seen as a monolith—we’re all the same shade, shade texture.” To assist executives with the linguistic aspect of Black hair, the BBR hair type guide draws on the diversity of Black hair and distinguishes between straight, wavy, curly, highly curly, kinky, and coily hair types. Indeed, Okrah stated that most of the white television executives who have attended the training sessions have sat through lectures about how long it takes to keep 4C hair. In addition,mau,they have been really accommodation.
There have been “aha” and “wow” moments that have been lost as a result of the education that is now giving our creative executives the chance to consider hiring the best individual for hair and cosmetics while also forcing them to consider “what does our call sheet look like?” Says Mau. I’m a little less convinced by the ahas and wows because, really, should someone in a position of authority in a studio or network be ignorant of the fundamentals of Black hair or the hardships faced by talent? When it comes to the gatekeepers of Hollywood, ignorance is not bliss.
However, Mau and Okrah concur that part of this effort to create a better industry is also broadening the executive level.
Who Benefits From Better H&MU Practices On Set?
Everyone is the short answer to this. If a Black performer’s wig isn’t fitting properly, not only will your show become viral for all the wrong reasons (trust Black Twitter!), but the psychological effects of hair discrimination on the talent will impact the entire performance. Furthermore, leaving hair and makeup unfinished could cause the entire production to go behind schedule, leading to delays and financial problems.
Executives can ensure a seamless production process by inquiring ahead of time when they are told. They have the ability to foresee problems and be proactive as opposed to reactive. Better hair and makeup techniques on site are merely smart business decisions, to put it simply. “It’s really good for business,” Mau remarks in the Zoom conversation. It merely improves the product. The content [will be better] in the end when people attend and have an amazing experience.
Performers carry these negative memories with them for a very long time. Actress Gabrielle Byndloss, who starred in Falcon and the Winter Soldier, talks about an email encounter that left her shaken. She explains that she needed to wear her hair straight for another production, but when she showed up for a fitting, they wanted her hair curly in its natural state. “The most traumatic experience I’ve had on set was a moment when production almost re-cast me because my hair was not in its natural state for a costume fitting,” she writes.
“I heard them talking about recasting me because they said that I “looked like a totally different person” and that they “didn’t trust that my hair would go back to curls.” Byndloss remembers this. I showed them images, talked with them during the procedure, and even demonstrated by wetting a strand of my hair to reassure them that my hair could return to its natural state. Not until the head of wardrobe, another Black lady, stopped by to give me her support.
“It’s Black Girl Magic, I swear her hair will grow back,” she exclaimed. Reluctantly, the production crew finished the fitting and were shocked to see my hair in its natural curly state—something they had assumed would never happen—when I arrived on the day of filming. Throughout the fitting, I seem to recall needing to use the restroom multiple times while attempting to contain my tears.” Without the presence of that Black woman on site, Byndloss would not have been hired for any reason other than the fact that others around her didn’t
In agreement with Byndloss’ observations, Okrah stated, “To put it simply, when you look and feel your best, you do your best,” in reference to the need to create safe spaces for Black artists. When attempting to obtain the most out of a production and land a reputable project, movie, or television program, these are the kinds of elements that are crucial. People perform at their best when they feel and look their best.
The Black Beauty Roster Effect
Because of the BBR and NBCU collaboration, Mau and Okrah were unable to name the specific productions that have undergone alterations, but Byndloss claims she has subsequently experienced set life entirely differently. “I was going to ask to speak with hair when I came up for my costume fitting. Regarding a recent gig, Byndloss remarks, “I didn’t have to ask; hair reached out to costumes and asked for me to stop by the hair & makeup trailer following my fitting. I was shocked to see another Black woman welcoming me to the trailer.
I lowered my shoulders, inhaled deeply, and exclaimed, “I’m so glad you’re here.” Byndloss continues by saying that she believed the woman to be a “day player,” meaning that she was just present on the set for the day in order to take care of the woman’s hair. According to Byndloss, “[Productions] will only hire one woman of color as a “day player” when they have one on set.” It’s not what happened! She had been present the entire time! I was taken aback. I was thrilled to hear that she could style ANY human’s hair in addition to WOC hair and that she should have a place at the table.
Expanding the talent pool to enable shows to choose professionals who can handle various hair types—that is, Black artists skilled in straighter hair styles—means that Black Beauty Roster’s aim extends beyond hiring Black performers alone. Byndloss found solace in the knowledge that not only would she be cared for on set, but also that her Black hairstylist was not being tokenized. Through email, Byndloss recollects, “We talked about how we would keep my texture for the shoot and that I didn’t need to do two hours of prep before showing up to set just made me feel at ease.”
It should come as no surprise that Byndloss was experiencing this—we’ve all heard the stories—but it’s still heartbreaking to consider that a Black woman would have to get up many hours ahead of time to take care of her own hair just to arrive up on set and not feel heard, recognized, or protected. It is impossible to overstate the influence of this top-tier training on performers like Byndloss’s experience on set.
The Future of Black Hair & Makeup In Hollywood
Here’s some excellent news. While there is still a lot of truth to hair and cosmetics prejudice on sets, initiatives like the CROWN Act, the new SAG-AFTRA agreement, and this Black Beauty Roster and NBCU alliance have made great progress toward actual parity in this area. There is optimism on the horizon as opposed to constantly hearing the terrifying tales. So much so that BBR organized an equity dinner for hair and cosmetics in February during New York Fashion Week, bringing together companies, policy officials, and beauty icons to celebrate the accomplishments done and discuss future goals in this area.
“We need to design areas to rejoice, while simultaneously highlighting the efforts,” Okrah remarks, bringing up the New York event that she claims was held in a “very lovely space” and had forty prominent figures from the cosmetics sector. On the dinner table, there were cards with the question, “How will I champion hair and makeup equity going forward?” With new laws on textured hair education and inclusive policies passed in New York and New Jersey, as well as SAG-AFTRA’s new contract that includes provisions to guarantee talent’s diverse beauty needs are formally recognized and met in production settings, the event celebrated a historic year for equity within the hair and makeup industry.
Regarding the new SAG agreement, Okrah stated, “Each performer will have the opportunity to be able to get a consultation for their respective hair and makeup needs.” “That particular performer has the option to go off set to get their hair or makeup needs done if the needs are not met. They are paid for the service as well as the time they had to spend traveling off set to get that support.”
Along with increased education for the respective unions regarding working with textured hair and darker complexions, the new agreement specifies standards that hair stylists and makeup artists must be able to work with all textures and complexions. “Having the appropriate products and tools on set to meet that need was one of the other major pieces that was also named within the agreement,” Okrah went on. The BBR and NBCU training courses have a whole section devoted to tools and products.
You will see why I asked Mau and Okrah about the executive response to the training, given that DEI efforts are being turned back nationwide and that the gradual progress gained since 2020 is being questioned. When discussing Black hair and cosmetics in the future For that advancement to continue in Hollywood, these meetings would need to be attended by willing audiences. Have they thus encountered any opposition from CEOs who oppose these changes? Both Okrah and Mau are adamant that they haven’t.
Mau notes that rather than showing hesitation or fear, the executive attitude has been one of confusion and amazement, adding, “Quite frankly, they were shocked to know some of the things they didn’t know.” “Our goal is to make sure that individuals are proactive rather than reactive.” Okrah continues. “Education changes that narrative significantly and goes a long way toward it. Since most of this has been motivated by a reactive space, let’s be honest about it. Our goal going forward is to take the initiative.
It’s difficult to have hope for the industry’s future when it seems like every week there’s a new article about a Black program getting canceled or another incident involving a Black individual who was cast and received backlash from racist fandoms. However, the work being done by the NBC Launch team and Black Beauty Roster is being undervalued right in front of our eyes. Okrah bases her work on three pillars: opportunity, advocacy, and education. Furthermore, when she discusses the history of BBR, it’s difficult to resist, even for a brief moment, picturing a world in which we never again hear about an actress sobbing over unmanageable hair or a performer discussing their nervousness about being Black on set.
“I believe that during times like these, and with collaborations like these, I want to send a message to the industry that hard work is required and isn’t a passing fad,” states Okrah. It’s not a particularly cool thing. Although it’s ingrained in our DNA, my response to questions concerning BBR’s legacy is, “I hope that I don’t exist.” We’ve really established a place where everyone feels heard and seen, and their individual hair and makeup needs are met, so I hope that the job that we do is not necessary. I hope that we don’t survive in the end. For me, success looks like that.
