1967's The Seventeen Book of Fashion and Beauty might just be the best worst book ever. This pre-Women's Lib guide to girls' style has it all: anorexia tips, unsolicited eyewear criticism, shoe shaming, vocal chord shaming. Ready to feel really, really lucky that the world (and the advice in Seventeen) has changed so much in the last five decades? By all means then, read on:
Tips For Not Being Such a Skank
-"Cross your ankles if you like, but never your knees. Why? Try it in front of a mirror and see."
-"Too much skin, too much leg, too much perfume, too much makeup labels you a girl to be whistled at rather than loved."
-"Nothing is more disenchanting than the sight of a girl frantically yanking at her hem in a futile effort to hide her garters from the public while she sits."
-"Why do you suppose most road signs are printed on shiny white or yellow backgrounds? The better to see the curves. The same thing happens on girls."
-"Swimsuits belong at waterside, not in the street. There’s no excuse for placing oneself on display."
-"Some girls can use nothing but eyeliner, blusher and lipstick and still end up looking like a lady clown."
You're Fat; Stop Being So Fat
-"Meal at a friend’s house? Take a little of everything, but imagine you are a frail 19th century beauty and eat like a bird."
-"What happens when you return from your summer holiday ten pounds heavier? Let us hope the condition is temporary. Meanwhile, you have to dress to minimize."
-"Chinese restaurants are kind to dieters. Have only a half-cup of rice... Dessert? Make it one fortune cookie."
-"These are the basic foods you should eat every day:
6 ounces of meat, poultry, fish, or cheese
2 servings of fruit
3 servings of vegetables, one of them a deep yellow or dark leafy green, one a small potato
3 glasses of milk
3 slices of bread
3 small pats of butter"
-"A pretty figure can do a great deal for a girl, even more than a pretty face."
-"Never underestimate the importance of your girdle."
Your Vocal Chords Should Be Ashamed
-"How pretty do you sound? You can’t expect to charm a royal ball or end up with Rex Harrison with sloppy speech habits."
-"Hold a matchstick in your teeth the next time you phone your best friend. Can she tell it’s there? If so, you need practice."
-"To find the best pitch for your voice, sing do-re-mi-fa-so up the scale, starting on the lowest note you can comfortably sing. The fifth note above this is the place where your voice should sound best—pleasant and rich in tone. At this level, you can raise your voice without sounding harsh or shrill."
-"Good speech is more important than the actual words you say... The sound. The smile. The gentleness, warmth, and vitality. The voice that says, ‘I like people. I like you.'"
-"If your friends can understand you perfectly, but strangers and teachers frequently have difficulty, chances are you don’t really want them to hear you."
Lessons On What's Probably Wrong With Your Terrible Hair
-"Should you ever cut your own hair? No."
-"When should you shampoo your hair? The day before it looks like it needs it."
-"If your hair is so limp it just clings affectionately to the back of your neck, face up to it bravely: you’ll be better off with a short hairdo."
-"Flowers in your hair can create a pretty effect, but beware of overdoing. Keep your touch light or you may remind people of Ophelia [Ed. Note: From Hamlet. Obviously. Because suicide is funny...ha...ha]."
-"It is in poor taste to be seen in town or anywhere else in curlers."
-"If bangs are good on you, hat brims will be, too."
How (And How Not) To Be Pretty
-"Do you get into cars head first? You’ll look prettier if you slide in sideways."
-"Your hands tell a lot about you. Are they pretty to look at, soft to hold? They should be."
-"Are you nearsighted? If so, your glasses’ lenses are making your eyes look smaller."
-"Fresh as a daisy, neat as a pin, pretty as a picture—you could sum it all up in one word: Girl."
-"To keep teeth pretty, never open curler clips or bobby pins with them; don’t chew on pencils, don’t break sewing thread, and don’t grind your teeth."
-"There is only one reliable gauge of what your best colors are: any color that does something for you when you have little or no makeup on is bound to be right."
-"You may be tempted by boldly colored glasses frames… think about it overnight."
Ugh, Stand Up Straighter
-"If a girl slumps her shoulders, it’s a safe bet she hopes nobody will notice anything about her. Probably nobody will."
-"The way you stand and walk shows who you think you are. People who droop and just sort of drift around look like nonentities."
-"Stand with your back against a wall. If your posture is close to perfect, your head, shoulders, and buttocks will be touching the wall."
-"When you walk, point your foot directly ahead and come down on your heel, then shift weight to the ball of your foot."
-"Stand as the models do, one foot turned out a little, the other foot a bit ahead."
You Have No Sense of Style
-"Date bags should always be small and dainty; you wouldn’t want the boy you’re with to think there’s something in the depths that bites if disturbed."
-"The element in fashion which is hardest to define and analyze is good taste. You are most acutely aware of it when it is absent."
-"If hot pink on you makes people want to say: 'Pink, where are you going with that girl?' use it for a scarf or shirt rather than a whole dress."
-"You would be right to wear Bermuda shorts shopping in Bermuda, and wrong, wrong, wrong to wear them shopping in New York."
-"Serious elegance is for the elderly; a strong element of fun enters into young chic."
-"Belts can and should have character."
-"Be wary of blue shoes, unless they’re navy."
-"It is the nature of good taste to be pleasantly unobtrusive."
-"What’s the matter with rich furs? Anything that advertises its astronomical price tag is ostentatious. A raccoon coat—no matter how high its quality—does not flaunt its high price."
-"As in painting, architecture, and theater, you need a single focal point."
-"Don’t bypass the dress with nothing on it; it may need a figure inside to come to life."
"While a trim length of leg has universal masculine approval, many boys confess to intense embarrassment on being confronted with intimate apparel."
To Tom Ford, the eyebrows are one of the most important elements of the face. He says that “a perfectly groomed and shaped brow is the most powerful, non–invasive way to define and enhance your features.” Well Tom, I couldn’t agree more. I love a good brow and am having total brow envy when it comes to one girl in particular – Erika Bearman better known as @OscarPRGirl. She’s got some serious dark, thick brows, and it doesn’t hurt that she’s pretty much flawless when it comes to the rest of her gorgeous features. While I’m in that awkward ‘in between’ stage of growing my brows out, I want to know how to fake it till I make it! So I asked myself, how can I create thicker and fuller brow through makeup?
Well, I have just the man to spills the deets: Joe Hubrich. Joe is the celebrity makeup artist and beauty guru behind Erika’s Coveteur and Elle shoots and works with her on a regular basis. Give us the scoop Joe!
Joe: I’ve graced the faces of many woman but one that always stands out from all the rest is Erika Bearman (pronounced Bear-man). Erika personally delivers behind-the-scenes inspiration from one of fashion’s biggest names, Oscar de la Renta.
When she first asked to me to beautify her (already gorgeous) face, I was thrilled. Erika has beaming eyes, flawless skin and confidence like no other. She doesn’t like or require a lot of makeup, so we worked together to enhance her natural features. We created a signature look that you can try too.
Erika digs a bold brow, so I focused on creating a sculpted, exaggerated brow that draws attention to all her features, especially her eyes. Curious? This is how we achieved Erika’s look:
1. Start by combing the natural brow up and over toward the outside of the face. You can use a brow brush, like the end of the Kevyn Aucoin Eyebrow Pencil [my favorite!] or disposable mascara wand.
2. Using a brow sculptor, comb through the brow, from the nose outward, lightly filling in the brow with extra color. I die for Tom Ford Brow Sculptor in Blonde.
3. With the brow sculptor, extend the end of your brow about a quarter inch longer that it really is.
4. Comb through the brows again to keep them in place. This will enhance the work done by the colored brow sculptor.
5. Use a LIGHT hairspray to ensure that your brows will hold their shape all day. My favorite is Elnett Hairspray.
As you can see, a bold brow is the key to any fresh, modern look. These 6 steps will add some flare to your own personal makeup look, drawing special attention to your natural features. Oh, and did I mention they look amazing on camera?
Thanks Joe! Now for my exclusive brow interview with Erika herself!
Annie: Who is your Brow Inspiration?
Erika: Nicole Kidman in Moulin Rouge, Madonna in Truth or Dare, Audrey Hepburn, Lily Collins…
Annie: What do your strong and bold brows mean to you? Do you agree with Tom Ford’s statement that “a perfectly groomed and shaped brow is the most powerful, non–invasive way to define and enhance your features.”
Erika: To me it always feels like an indication of strength and a sort of raw beauty- like you could be a queen or a warrior.
Annie: Tell me how you maintain your perfect shape? Do you tweeze, wax or even thread?
Erika: I touch them as little as possible. My adolescent tweezing has taken years to heal!
Annie:In your downtime, or on the weekends, how do ‘style’ your brows? Do you go au natural, or do you enhance with a little makeup?
Erika: I usually just brush them up a little bit.
Annie: Stranded on a desert island, what are the 5 beauty essentials that you would take with you?
Joe Hubrich has also worked with celebs like Bette Midler and his work has been published literally everywhere, from Vogue and Teen Vogue to Town and Country and The New York Times. His bright personality has even won the hearts of millions on the “Real Housewives of Beverly Hills” and “E! News”! When his hands are not working magic on the faces of A-list celebrities, they are typing, tweeting (@Joehubrich ) and blogging on Joehubrich.com.
Images courtesy of The Coveteur and Natasha Jahangir.
“When I was growing up in Toronto, I just wanted to fit in. I was an Asian kid in a mostly upper-class Jewish school. Everybody wore Lacoste and had everything I wanted to wear. In seventh grade, I saved all of my lunch money for a month—I got $10 a week—so that I could buy a pair of Jordache jeans at a thrift store called Thrifty’s. I remember my mom and grandparents asking me why I spent so much money on a pair of jeans, but I wore them everysingleday. I would put them on and feel like a different person. I was obsessed with the triangle on the back pocket. In hindsight, that was the first time I realized that clothes could create an image for people, and create confidence and allure—that they could be a secret signal to those who are ‘in the know.’ Those jeans were everything to me. Of course, I realize looking back, I was wearing women’s jeans the whole time.
In high school I dressed like a punk, with cobwebs and tic-tac-toe squares shaved into the side of my head, and the next day I would wake up and say, ‘OK, I’m preppy now,’ and I would pop the collar on two Polo shirts at once and wear whale pants. [Laughs] I would literally go from Robert Smith hairspray and eyeliner to Sperry Top-Siders. I knew exactly how to twirl the laces into that coil, too, and how to put a penny into my loafers. I was a crazy person. Part of it was about acceptance and part of it was about rebellion. As a teenager, I wanted to tag it as rebellion, but I really just wanted to be accepted by the world of rebellion. Everyone wants to be sitting at the 'A' table at lunch, and everyone wants to be invited to the party—I was no different.
When I finished school, I went to the University of Toronto. One day I saw a job listing to work at Holt Renfrew in the advertising department. I applied and didn’t get that job, but they were also looking for someone in the buying department, so I ended up working as a buyer instead of finishing school. I thought ‘Wow! The buying department!’ But I literally sat all day in an office looking at a green screen staring at units—I was just moving around numbers and signs. I never saw a piece of clothing, a designer, or a showroom. I can still see that green computer screen flashing numbers in my head! So, I managed to get myself on the advertising side, but after a year I realized that I just really wanted to work in magazines.
Back then, I read everything that I could get my hands on, page by page—Vogue, Elle, Flare, and Toronto Life Fashion. I saved up all of my money, packed all of my stuff, and moved to New York City. I went to FIT [the Fashion Institute of Technology]—I was actually too late to register for that school year, but I was just so persistent that they called me in August and asked if I still wanted to come. Classes literally started in four weeks, but I said, ‘Uh, yeah!’ and packed my entire life to move to a new country with no visa. [Laughs]
FIT had a job fair where I met a representative from Allure—this iswhen it launched in 1991 under the creative direction of Polly Mellen. At the time, I was interning at Mirabella magazine and my job was to do research for Grace Mirabella's autobiography. I also spent some time researching Polly Mellen because she was Grace’s fashion director at American Vogue. I became obsessed with Polly's work ethic, everything she created, and every iconic image she was a part of: Lauren Hutton at the beach, Nastassja Kinski and the snake—those were all Polly. At the job fair, I walked up to the Condé Nast representative and said, ‘I want to work for Polly Mellen and here’s my resume.’ The woman said, ‘Well, I think there are openings at the magazine.’ But I wasn’t graduating for another year, and, even if I'd wanted to, I couldn’t get a work visa without finishing school. The following year, a few months before I graduated, I called the same woman in human resources and said, ‘Hi, I don’t know if you remember me, but I still want to work for Polly Mellen.’
I graduated in a recession, and I applied for 17 jobs, interviewed for 16 of them—one of them with Robbie Myers at Seventeen—and didn’t get anything. I was devastated and went home to Toronto, thinking ‘Maybe I shouldn’t even do this.’ That’s when I got the call that Polly wanted to meet with me. I got on a 12-hour train ride to New York. I was so nervous about my outfit—I had no money, and I didn’t want to look like a kid, so I wore this Gaultier leopard vest that I'd bought at Century 21 over a white shirt and these black pants that I got on a student trip to London. The meeting was great. I was so impressed by her energy and by how grand she was. She was everything I had researched. She told me that I'd need to meet with the editor-in-chief, Linda Wells, later that week. I, again, had nothing to wear, so I put on the exact outfit to meet Linda. And on the way out of our meeting, where Linda had told me how much Polly had raved about me, Linda said, ‘Why don’t we go say hi to Polly?’ I was dying. That woman’s eye notices everything! Attention to detail is what Polly Mellen is about! I was imagining her thinking, ‘This person not only doesn’t have any other clothes, but he doesn’t even do laundry!’ [Laughs] But you know what? I got the job anyway.
My first day at Allure, I ran something down to one of Polly’s shoots and Steven Klein and Kate Moss were in there. I remember seeing a closet full of clothes and Manolos and saying to myself, ‘Oh. My. God.’ And a couple of months later, [stylist] Lori Goldstein joined the team. I was such a big fan of her work and convinced them to let me assist both Polly and Lori, and I stayed with the magazine for four years. They each approached work in very different ways, and I learned that, as much as I thought I was a fashion person, I’m really an ideas person.
I didn’t really figure out how to be a 'stylist.' In Toronto, I had a friend who was a hair dresser and maybe 15 years older than I was, and one day we were talking, and he said, 'If you love this so much, you should just be a stylist.' I told him, 'I don’t want to cut hair, I don’t think I could ever see myself doing that.' He said, 'No, not cutting hair, a stylist deals with clothes. They put clothes together and you dress models.' I thought, That can’t be a real job and who would ever pay you to do that? That stayed with me. But in general, there are two camps of stylists: the ones that are obsessed with the clothes, and the ones that are obsessed with the picture. I love the picture. Concept became very important to me.
In 1995, I went to work for W as the fashion editor when it changed from a newspaper to an actual magazine. There wasn’t even a fashion director yet, and they had no idea how to get items from fashion houses to feature in the magazine. But the needle moved overnight, because by the end of 1996, W was a zeitgeist magazine. Every other magazine in the U.S. was very commercial at the time, but W was ready to push it, and people started to notice. The level of photography shot through the roof—[Creative Director] Dennis Freedman got Philip-Lorca diCorcia to start shooting fashion for the first time. Everything went from being really difficult to being really robust. I became the Senior Fashion Editor, then the Fashion Director. And I got to work with so many fine artists. There’s a lot of creativity, ego, and collaboration that go into shoots, and you have to learn how to draw the best out of everyone. That’s what I took away from being at W:hire the best team of people, and then, rather than having them do what you want them to do, give them enough creative freedom to do the best thing they can do. You don’t want to stick someone in a box, you want to step back and say, ‘What can you do?’ and the result will always be stellar.
The same thing goes for working with celebrities. I love a big personality, and I've worked with the best: J.Lo, Madonna, Julia Roberts, Sarah Jessica Parker. They have so much chutzpah. Actresses and supermodels are three-dimensional subjects. They have careers and opinions, so, for me, shooting a big star for the cover of W became ‘I’m going to watch every single video that Britney’s ever done, then I’m going to think about making a new moment for her, without making her something that she’s not.’ Fashion magazines need to have an element of 'wow' every month, to make you run to your mailbox and rip it open. So, it was about taking someone to the next level, kicking it up a notch, but still maintaining the essence of who they are. I want them to feel excited and inspired, and the most gorgeous versions of themselves, not forced into something. If they’re not feeling it, we move on. I’m not married to ideas. I’m married to people doing the best possible thing. That respect permeates, and people walk away having a liberating, good experience.
That’s how I ended up styling Mariah Carey’s ‘Honey’ music video [below]. I met Mariah on a shoot for W, and we hit it off. She was in the middle of her divorce from Tommy Mottola, and working on Butterfly. She wanted to project a younger, sexier image. Of course I wanted to work on her video, I was obsessed with them—this was the heyday of multi-million dollar, 20-minute music videos; they were basically mini movies. It was crazy. We rented an island off of the coast of Puerto Rico and brought the best hair and makeup team for what was supposed to be a three-day shoot. Six days later, I was still there. They were playing the song on set non-stop. There were dancers to dress, background people. And, for Mariah, I put her in a white bandeau by Norma Kamali—I think—and the dress she rips off when she jumps off the balcony was Betsey Johnson. We had to make multiple versions because there was a stunt double. And Mariah had to swim in those patent-leather Guccis with the spike heel—they were so bitchin’. I did not realize they would get a close-up in the video—it was one of Tom Ford’s first collections for Gucci—but it became a big deal.
I also worked with Justin Timberlake on the FutureSex/LoveSounds cover and album, setting the looks and all of that. He was coming off of ‘N Sync and Justified when I styled his Details cover [in 2002], which was the beginning of our collaboration. We wanted to make him look really cool in this kind of Steve McQueen-meets-William Claxton way that Justin loved. That cover shoot still includes some of my favorite photos. So when it came time to release FutureSex/LoveSounds, we had a conference call in the middle of the night. He was in LA and I was in Spain, and I remember saying to him, ‘A lot of people want to see you transition from boy band to grown man. Your fan base needs to see you grow up.’ At the time, he had a cool hip-hop thing with Nike Air Force 1s with jeans and hoodies, but I wanted sophisticated. Hedi Slimane was at Dior Homme, too, so the look was really like a modern-day Frank Sinatra but through the filter of Dior Homme. We went for what I was calling 'Reservoir Dogs': skinny black suit, white shirt, skinny black tie, and a vest. I mean, we brought the vest back! Nobody was rocking a vest at the time, but then here's this cool kid rocking a vest. It was awesome for Justin. He’s so smart, too, because he committed to the look and wore it throughout his tours, all the press, and videos. That was how I always dressed—black suit, white shirt, black tie—because it's so easy, you don't have to think about it. Who didn't watch Reservoir Dogs and think those guys looked so friggin' cool? It's funny, years later I would be wearing that, and people would say, 'Oh, you’re dressing like Justin.' I was like, 'I’ve been wearing this for a while, thank you very much!' [Laughs]
I got the call from Elle in 2007. It was already hugely successful, because Robbie [Myers] had a really strong vision, but they had never had a creative director before, and, for fashion shoots, I brought in all new people. It felt like a start-up. There were moments at the beginning when it was hard to get the things we wanted for shoots, and I knew that at a certain point I would run out of favors to call in. I didn’t know what was next, but I was certain that, eventually, people would be begging to work with us. It was a wait-and-see moment. But, under Robbie, we really were able to take everything to the next level. No matter what, it was such a strong product. And we're having fun. Now the ‘90s are back, and that’s really who I am. Any of my friends can tell you, 'Oh Joe, he loves wet hair and a smoky eye.' [Laughs] And I do because I love when a girl has that super sexy, tan, J. Lo moment. I think I grew up envisioning women to be sexy like that. Sure, I love the grunge girl—I love all those things, and I can do all that—but there’s always something about that sexy Versace girl that’s near and dear to my heart.
At the end of the day, I like to have fun at work. I want to laugh, I want to be silly because it’s just clothing and pretty pictures, we’re not going to sit in a dark room and be serious. Of course I take my job seriously, but shit needs to be fun. That’s important for me. Then people walk away and say, 'I love working for Elle,' because it felt so good and we got a great photo out of it, too. It’s not about manipulating people, being married to ideas, or getting people to work for you out of fear. I want to see work that’s made from inspiration.”
—as told to ITG
Joe Zee photographed by Emily Weiss in New York on November 13, 2013. Read Part 1 of our interview (Joe's Top Shelf) here.
Were you a slow transitioner or a Big Chopper & why? (tell us your natural hair journey)
I big chopped in August of 2010 after wearing weaves on and off for about a year. At the time, I had been recently laid off and my stylist was relocating his business to another state, so taking the big chop plunge just seemed to make sense (financial sense). I didn’t do any real transitioning. I had my last relaxer in February that year, got one more weave and then I just went for it. My philosophy is “it’s just hair.” If you feed and water it, it’ll grow back. And if all else fails and you can’t achieve it, you can weave it!
I was always very curious about what my natural hair would do, but I had a relaxer from about the 3rd or 4th grade until my big chop. I knew my hair could handle fewer relaxers. My stylist was just blow drying my hair rather than doing repeated relaxing, so I knew that there was something under there that I needed to check out! All of my close female family members have wavy hair that’s a completely different texture from mine so I wasn’t sure what I should expect of my hair. My texture has changed over the years. As a child, it was very thick. It’s thinned out a bit as I’ve gotten older. I wanted to know what my “real” hair would do, so I went natural. My stretched hair was a couple inches past my shoulders until recently. I had a few inches chopped off because I really believe I have some kind of “Hair ADHD.” I get bored very easily and like to change my look. Some days, my hair isn’t even styled the same from day-to-day. I have the hair jitters, I guess.
How did family and friends react to your decision to go natural? How did they react to the new you? What was your response to them?
The reactions from my family and friends were great. As my hair grew out, I did have one person ask me if this was how I was going to wear my hair from now on. I didn’t take that as an insult. I know, generationally, we tend to think that hair has to be “done” in a certain way and I was wearing my hair in a big and wild way that runs counter to that. Overall, the response to my hair has been great. No one has said anything negative. My family members are quite hair experimental anyway so it’s nothing to see a different color or length one week and then something new the next.
Describe your hair (fine or coarse, thin or thick, highly porous, low, etc.)
My hair is 4a/b-ish. It soaks up moisture like a sponge. You could sneeze near me and my hair would frizz up. I struggled with humidity in the beginning, now I just accept that it’s a part of the deal. I try to straighten my hair from time to time just to dry it faster, stretch it out or get a “new” look. I usually sweat it out right in the middle of the blow drying process. I just go with the flow now. I got my hair professionally colored (red highlights) last year with a color touch up earlier this year. When the color grew out some and started to fade, I tried the Shea Moisture bright auburn color and it really warmed up my highlights without changing the texture of my hair. I blogged about my experience with the color. I plan to re-do it very soon.
What's your current hair routine? How often do you wash, condition, and style? favorite products! Deets!
I’m a bit of a product junkie. I’m in CurlBOX and Curlkit rehab. I have so many leftover products from the subscriptions, plus I attend a lot of hair events and I’m a blogger so I get free things to try out. I have one or two “holy grail” products. I wash weekly. I perspire a lot. Actually, let’s call it what it is… I sweat! I usually spray my hair down with a mix of oil, water and conditioner after my workout. Then by the end of the week, I have to wash it. I usually deep condition before I wash. I’ve found that process works better for me even though, on paper, it seems out of order. When I’m feeling fancy, I’ll deep condition under my Huetiful steamer. I’m a shampoo and conditioner girl. I do use the As I Am coconut co-wash sometimes, but I really like to feel soap bubbles in my hair. I’ve been using the nuNAAT Real Me Curl to Coil collection’s shampoo and conditioner lately. They work really well. I also use Oyin products (Hair Dew and Burnt Sugar Pomade), Elasta QP’s mango butter, Eden Bodyworks peppermint tea tree oil and Beija Flor Natural’s crème brulee. My holy grail product is nuNAAT’s Karite combing cream with shea butter. It’s awesomeness in a bottle.
How do you maintain your hair at night?
My hair does not like the pineapple, tie it down with a scarf, put it in a bun thing or any of that stuff. It HAS to be retwisted nightly. The only thing that I can get away with lately, now that it’s shorter, is doing a rod set and I can sleep on it for a few nights if I do a “cute” sleep. Prior to cutting it, I would do flat twists, Bantu knots or two-strand twists and then cover with a scarf and a bonnet (I double up in case one slides off). I’m also a fan of the magic bun. I have hair in different colors and textures for when I want to create an updo look.
How do you maintain healthy length?
I get my ends trimmed professionally at least once a year and I do self-checks of my ends and cut whatever looks like it needs to be whacked. I’m a big believer in deep conditioning, steaming, moisturizing and just letting my hair do what it does. I do have color treated hair, so I make it a point to keep it conditioned and moisturized. I do protective styles when I can (mini-twists or twisted updos). Since I like to change my hair often, committing to one protective style for an extended period of time can be a challenge.
What's the best thing about being curly?
The best part about being curly is the versatility of natural hair. I can wear it in its most natural, tightly curled state if I want. I can put a little heat on it and wear it straight. I can slick it down and wear it in a bun or unique updo. I can create ringlets with Bantu knots. The options are really endless. I’ve always viewed hair as a beautiful accessory, like a nice piece of jewelry. I change it with my moods. I add hair, I subtract, but most importantly, I take care of it. Don’t be fooled though, natural hair is a commitment. While I’m not spending money to get my hair done a couple times a month anymore, I am putting in the time to keep my hair “done” as a natural.