Actors Beanie Feldstein, Britney Young, and MJ Rodriguez rocked the big and small screens this year in awe-inspiring ways. You probably recognize Feldstein best from the summer movie Booksmart. Meanwhile, Rodriguez brought tears to your eyes as Blanca on FX’s Pose. And Young has been killing it on GLOW for three seasons now.
These performances couldn’t be more different, but they’ve all had similar effects on viewers: We were captivated and transformed by them. Credit for that goes to Feldstein, Rodriguez, and Young, who have changed the landscape for women in Hollywood just by being themselves. They’ve each pushed the needle forward for representation in various ways—be it race, gender, sexual orientation, size. At Glamour’sWomen of the Year Summit, these three women got together and talked about how they’re disrupting the system.
Growing up, Rodriguez, Feldstein, and Young didn’t really see themselves reflected on screen. “There wasn’t a lot of representation for young African American trans women,” Rodriguez told Vogue senior culture editor Estelle Tang, who was moderating their panel at the summit. “But I found comfort in watching shows like Will & Grace and Noah’s Arc. It made me feel included at a young age.”
Young, meanwhile, didn’t see good representation for either plus-size women or bi-racial people. “There were larger people on film and TV, but they were never shown in a positive light” she said. “They were always the bully, the prison guard. I never saw a nice plus-size girl who wasn’t being mean to people. [Bi-racial representation] was never shown in a positive light, as well.”
Feldstein had a similar experience growing up. People constantly told her she’d grow up to play Tracy Turnblad on Hairspray, but that role never interested in her. She wanted to be seen for all her complexities and nuances. , “[Tracy] is not who I am. I’m so many other things, let me show you all the other roles I can play,” she said. “Thank God things changed as I got older, and we have so much room for growth.”
We do have room for growth, but these three women are playing a huge part in moving things along. They’re using their positions of fame and power to impact the sets and projects they work on. Feldstein says she learned a lot from her Lady Bird co-star Saoirse Ronan on how to set the tone of a set. “Stepping into slightly bigger roles [like Monica Lewinsky in American Crime Story, her next project] at the center of a story, I think, ‘What would Saoirse do?’ To be the center of a story and hold that space is intimidating, but watching her do it was [inspirational].”
Beanie Feldstein, Britney Young, and MJ Rodriguez at Glamour‘s 2019 Women of the Year Summit.
How many times can a fantasy be recycled and repurposed until it feels attainable? In the canon of women’s self-improvement, the French-girl ideal—the most persistent and prescriptive of the fantasies—is always just one pouty red lip, marinière, and pair of skinny jeans away from becoming real.
A quick Google image search for French girl reveals a host of eminently familiar faces, each more calculated in its composition of faux effortlessness than the one before it. Model and actress Jeanne Damas, our generation’s Jane Birkin, figures among the first twenty results, alongside equally as slender, tousled-hair brunettes. The sole non-white exception is a woman from this story about defying beauty tropes. Never mind that French girl is used as a stand-in for Parisian—a conflation we likely owe to the framing of the 1950s and 1960s mavens of popular culture like Françoise Hardy and Brigitte Bardot as French icons, but who remain eminently tied to Parisian mythology—their reverence to a billion-dollar archetype is as reductive to the real women of Paris as it is to the women aspiring to be them.
There’s a plurality of Parisian styles and personalities—that’s obvious from walking the streets of Paris. But with more and more women using social media to access and share a more diverse sample of images, experiences, lifestyles and opinions, the disconnect between fantasy and reality is growing deeper and more glaring. If author and journalist Sophie Fontanel has given the middle finger to the notion that there is a codified set of rules for fashion and beauty over fifty, the women highlighted below are proudly showing the way for a younger generation of women who are ready to express themselves free from the grips of a generations-old myth.
Anlya Mustapha, 27
“The mainstream, accepted image of the Parisian woman is embodied by sophistication and elegance on slender, tall, white women. If something stands out as Parisian in style, it’s in their simplicity—not necessarily in color or print but in the total look. Yet on the ground, the style leans ultra-casual. There’s streetwear and minimalism. The dolled-up look we see time and again isn’t actually the norm.
“Women of color generally don’t find themselves in the classic representations of Parisian women, in terms of fashion or makeup. A red lip might be common on a white woman, but we might go for something entirely different. We can’t all be reduced to a few images or to one archetype. Luckily, there’s been a democratisation of makeup and beauty, which now leans very American (think: contouring, highlighting). That has been a step toward liberating Parisian women to express themselves as they wish. That’s a good start.
“I discovered modest fashion as a style through Dina Torkia when I was studying in London. It’s far more present in the U.K. than in Paris. But I’d also say my style is Parisian insofar as it is meant to be elegant, simple, minimalist. I like oversized and androgynous pieces—that’s Parisian, too.
“Modest fashion allows me to express my femininity and the plurality of my identities, as a woman and practicing Muslim. It’s not an attempt to respond to or address the systemic Islamophobia that continues to plague France—the idea that Muslim women may not be ‘French enough’—because that message, told through fashion, wouldn’t be heard by the people and populations who espouse such beliefs. The photos I share of my style, rather, are targeted to other women like me: women who may not have the confidence to seize the legitimate place they deserve in society. And it’s not only Muslim women—it’s anyone who may not feel accepted or legitimate.
Anlya’s favorite places to shop: “The Frankie Shop for a more traditionally Parisian esthetic and Kenza B, which specializes in modest fashions.”
Ellie Nesmon, 32
“Parisian style has always been synonymous with elegance, effortless chic and with an antiquated image that no longer matches reality. Parisian women aren’t always in ballet flats, sporting a marinière or a beret—thank goodness!
“I’m from Martinique. and I’ve lived in Paris for several years. I express the dualities of my identity through fashion. One day, I’ll wear a lot of prints and colors and very feminine cuts that remind me of the island. Another, I’ll embrace neutral colors and classic, more masculine cuts that convey a more traditional Parisian chic. I don’t need to choose between Paris and the Caribbean. Fashion allows me to be a chameleon. That’s why I love it so much.
“I hope women see that, through my style, the parisienne isn’t necessarily a blonde with poker-straight bangs, but rather a cosmopolitan woman who isn’t necessarily born in Paris, but is well-traveled and draws inspiration from other cultures. She defines her own style, which is modern and fun.”
Batsheva Hay knows her designs inspire a strong reaction. The prairie-style dresses, some with matching bonnet, might best be described as the stuff of a Laura Ingalls Wilder fever dream. “Some people are like, ‘What is that?’ ” says the 37-year-old. “This one PR guy was totally trying to put me down, like, ‘Your dresses are old, they are like the official wardrobe of the Me Too movement!’ ” Hay laughs: “I was like, ‘Whatever!’ At least he feels strongly about it.”
That IDGAF attitude is what her line, Batsheva, is all about. Before starting her label two years ago, Hay was a lawyer on the partner track at a Manhattan law firm. “My whole life I had been shy and studious. If someone criticized something I wrote, I’d be heartbroken,” she says. But fashion, especially dramatic period pieces, had been an escape. When the self-described introvert wasn’t racking up billable hours in corporate attire, she’d scour vintage racks for eighties-era Laura Ashley pieces and “peasant wear.” In this pursuit she finally found relief from her perfectionism.
PHOTO: Batsheva
A look from Batsheva’s first collection
PHOTO: George Pimentel
Aurora James, left, wears Batsheva to the 2018 Met Gala with Solange Knowles.
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Hay, whose husband is fashion photographer Alexei Hay (the couple have two children), launched her own line when she could no longer find what she wanted in secondhand shops. “All of my vintage was tearing. So, as an experiment, I went to a pattern maker and asked, ‘What’s the cost for remaking this dress?’ ” says Hay. “She told me it would be kind of expensive. I thought, If I’m going to remake it, I might as well add some things to make it more interesting.” Several ruffles and a double collar later, she’d created something she hadn’t seen anywhere. One dress turned into a collection—cotton dresses and blouses in calico patterns and ginghams with puffed Edwardian sleeves and Peter Pan collars, all under $500—and new confidence. “If someone doesn’t like my clothes, I’m like, ‘Sucks for you,’ because I know they’re cool,” she says. “It’s the only thing in my life that I’ve found where I’m like this.” Luckily for Hay, plenty of people do like it: British retailer MatchesFashion bought her fall collection, and celebs like Natalia Vodianova, Gillian Jacobs, and Natalie Portman have snapped up pieces.
Part of the appeal, no doubt, is that with nary a V-neck or above-the-knee hem, Batsheva is very in sync with today’s modest dressing. “Women today are reevaluating our behavior and our choices,” she says. “ I want [my clothes to embody] what our decisions would be like if we actually made all of our own choices, without considering what men think we should wear.” Imagine, she says, “if we could erase all of what society has told us we had to do.”
“Red-carpet hair“once meant long, straight, and shiny—no matter what your natural texture. But as Hollywood (finally!) grows more diverse, and stars like Janelle Monáe and Kerry Washington make it a point to show off creative styles that run the gamut from jewel-encrusted waves to teased-out Afros and intricate braids, we’re seeing individual flair become the norm rather than the exception. Meet four top hairstylists who have been instrumental in bringing about that major change.
PHOTO: Design by Aimee Sy.
Lacy Redway, 32, is one of the few women—not just women of color—in what is traditionally the boys’ club of high-fashion hairstylists. Having started out assisting runway and editorial greats like Guido Palau and Eugene Souleiman, she’s now outpacing them as the A-lister for everything from magazine covers to awards shows. “I like to do untraditional hairstyles on untraditional textures,” she says. “For example, doing a Marcel wave on natural hair, the way I did with Uzo Aduba [at the 2018 SAG Awards]. I love being able to educate everyone on black culture through my work and making people feel their most beautiful.”
She knew early on this was her dream job. “I was the girl in middle school braiding everyone’s hair for $10. That’s how I got my start: practicing on friends, doing zigzag cornrows and other designs. Braiding has always been a core part of my foundation, so it still comes up a lot in my work.”
The hair conversation is changing. “With there being so many more roles opening for actors of color and women, everyone has become more comfortable embracing what makes them their most authentic self. One day you can wear natural hair and one day a wig, and that’s OK. It’s more about celebrating who you are and not being put in a box.”
But there’s still work to be done. “I’m often the only person of color on set for a major photo shoot, so I try to make it my business to help other women of color. We’re still the minority. I hope that will change so we are able to feel like we belong on these sets.”
Her kit essential:Nexxus Comb Thru Volume Finishing Mist ($14, ulta.com). “This is my go-to hairspray for all textures. When I’m on a shoot where I have eight different styles to do, it’s light enough that I can easily brush it out and transition the look.”
Tennessee-born Nai’vasha Johnson’s breakthrough moment was styling Zendaya’s pixie for the 2015 Grammys. Now her versatile touch with everything from voluminous curls to box braids has made the 40-year-old one of the busiest stylists in showbiz. She’s a student of all things hair: Her home is scattered with mannequins that are subject to her every styling whim, and she spends days researching historical references and consulting runway reports for inspiration. “I continuously study trends and shapes,” she says. “Studying and practicing are the most important tools to sharpen my skills.”
It’s good to stick up for what you want. “Clients are starting to put their foot down and say, ‘Listen, if you want me on your runway, then I need someone who understands my hair and my journey to be accessible to me—period.’”
Homework always pays off. “A lot of times I look to older celebs, like Diana Ross or Eartha Kitt. I really reach back and try to go from there. Opening up your books—I mean encyclopedias, not Google—makes you open up your mind and learn a thing or two.”
Don’t let others define you. “I’m known for doing really funky colors on textured hair. The color is as bright as it would be on straight hair, and the hair maintains its texture without damage. But I don’t want to be boxed in as a black hairdresser. I want to be known as a phenomenal hairdresser who knows her craft and artistry and happens to do a great job on African and African American hair.”
Her kit essential:Hicks Edges Pomade ($14, walmart.com). “I use it on the hairline for a clean look and also for super-tight ponytails. It gives maximum hold without feeling heavy.”
Just like the musicians she styles, Nikki Nelms has got range—you’ll see her create everything from Bardot-inspired bouffants to Afro puffs adorned with rolling googly eyes on her clients. Safety pins, earrings, foliage, and pom-poms are all fair game for her hair art. And whether it’s seashell-adorned braids on Solange Knowles or a platinum blond pixie on Zoë Kravitz, Nelms’ looks are always eye-catchingly cool, and her influence trickles down to the masses. “Celebrities should lead the way and make people at home think, I want to do that,” she says.
Think outside the box. “Using things that have nothing to do with hair make [any style] more interesting. I’m always pushing myself to be unconventional. Sometimes I don’t even have things in my kit because it forces me to get more creative on-site.”
A hair statement isn’t always a political statement. “It’s not a movement when someone decides to be themselves. When you go on a red carpet as a celebrity and choose to be your natural self and people consider that a movement or a protest, I think that says more about the interpreter than the interpreted. What is the big deal with me wearing what I was born with?”
She’s on a mission for the next gen. “I want to show little black girls how amazing we are without needing to be cosigned. We don’t need to be imitated to know our worth.”
Her kit essential:Sebastian Shaper Plus Hairspray ($19, ulta.com). “I like to spray this on my rattail comb, then run it over the hair to smooth down flyaways.”
Takisha Sturdivant-Drew, 42, has always been focused: She got her cosmetology license, landed a job in a Manhattan salon, and moved out on her own all before the age of 20. It was that same salon job that led to her first celebrity client, Kerry Washington, with whom she still works more than a decade later. And while she’s not afraid to tease coils to the max (google Washington’s Met Gala Afro) or play with butt-grazing platinum wigs (she has her own extensions line called TSD Hair), she also encourages her clients to maintain optimum hair health so they can effortlessly embrace their natural texture when they want to. “I’m always telling people things like: Put this product in your hair because it doesn’t have that much alcohol, use conditioner, or don’t use the flatiron every day,” she says. “I educate them along the way.”
It takes one person to start changing what’s “normal.” “When we walk in with natural hair, [people are] like, ‘This hair is so difficult. How do you do it? Can I touch it?’ The first thing they want to do is blow it out. Kerry was one of the first to have natural hair on the red carpet. Now natural hair is just a look.”
Add some wow factor. “I love using my extensions and wigs in a creative way. Cynthia Erivo’s hair is super-short—maybe two to three inches—but when I gave her two braids past her butt, it was the biggest hit because [it captured] her edgy personality.”
She gets her ideas by steering clear of trends. “I like to be different. If everyone is straight, I want to go big and curly.I look at Instagram to see what people are doing, then I change it up. Like for the Met Gala, I knew everyone was going to have a crown. So when it came to styling Kerry, we went with the Lorraine Schwartz jewelry sitting in the hair instead.”
