“Part of the reason that hair is so central to personhood is because it sends out signals to oneself and others about gender, class, status, age, generation, marital status, religion, group membership, familial ties, and politics. It is personal, but it is also a highly visible cultural artefact.” — Professor Joanna Bourke (2019). “A History of Hair.” Gresham College Lectures. October, 2019

In 1960 Margaret Vinci Heldt, a Chicago-based hairstylist, created ‘the beehive’, which would become one of the most identifiable and significant hairstyles of the 20th century. Bangs, manes, bouffant, beehives . . . big hair seems to be followed naturally by its famous qualification, “don’t care.” Even though in practice it usually means loading up on hairspray, using teasing combs, and applying hairpins, the effect isn’t fussy—it’s freeing. No wonder it was the preferred mode of spirited performers like Amy Winehouse, the Supremes, and Dolly Parton. With the beehive, the hair pendulum went from the soft waves and lower-volume styles of the 1950s to towering. Modern Beauty Shop described the beehive style as a "tall wraparound crown, creating a circular silhouette with high-rise accents." It’s also a timeless provocation.
 
In African society, hair speaks volumes. Reflecting different cultures and identifying social and religious status and functions. Hair aesthetics is about power whereas aesthetic judgements about hair are fundamentally political. During the Civil Rights Movement the afro emerged as a symbol of black pride and resistance to Eurocentric beauty standards. Natural hair was – and still is – a statement of pride and resistance. Recently the CROWN Act (2019) was signed into Californian  law. The act, which stands for “Creating a Respectful and Open World for Natural Hair,” is a law that prohibits race-based hair discrimination, which is the denial of employment and educational opportunities because of hair texture or protective hairstyles including braids, locs, twists or knots.
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“Hair, the crowning glory of women down through the ages, makes a statement about the wearer in the same way her clothing speaks of who she is. Certainly it tells a lot about her concept of herself, either as who she is or who she wants to be. Her choice of hairstyle is also a reflection of societal and cultural norms which she either adheres to or rejects.” — Professor Mariama Ross

XXtra consists of a selection of portraits. Big hair portraits. A little taller, a little braver, more volume and quite a bit more presence. A cross section of trouble makers and traditional coiffure, all in celebration of individualism.