Dear Kimberly Steward... MUA on Dear White People (The Film) #TBT

In 2015, we interviewed a set make up artist -Kimberly Steward for the movie

"Dear White People".

Now Netflix has a new hit original series "Dear White People" and its making so many controversial waves through media, that we decided to revisit this story for a #TBT feature!

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Txture Magazine: Hi Kimberly! First things first: how did you become a MUA?

Kimberly Steward: I have been doing makeup since I was in high school, but I actually started doing hair first. As a teenager, both of my older sisters (Faatemah & “Zee”) did hair extensions. I used to watch them. then I would practice braiding hair on friends at school. That evolved into doing hair and makeup for my friends’ prom, homecoming and other school events. My oldest sister “Zee” sold Mary Kay at the time and gave me makeup lessons and a tester kit. That is when I really got into makeup. In fact, that kit helped me get my first paid gig!

Txture Magazine: Where do you get your inspiration?

Kimberly Steward: My inspiration mainly comes from dreams. I love to dream in color. I literally go to sleep, wake up and have real life ideas, direction, styles, colors, and more that were all mapped out in my dream. When I am in dreamland, the limits are off and inspiration boundless. When I wake up it feels so real and tangible, and that empowers me to make those ideas happen.

Txture Magazine: How did you get involved with Dear White People?

Kimberly Steward: A friend of mine who is a model and makeup artist, Ms. Denishia referred me for the job. I reached out to the Lead of the hair and makeup department, Robb Kelly, and the rest is history.

Txture Magazine: Being able to do hair and being able to do black hair are two different things. In this film, not only did you style black hair, but you had to handle different textures and even weaves. How did you come up with the different styles?

Kimberly Steward: A lot of my out-of-the box thinking, especially when it comes to texture, comes from my sister Faatemah. She taught me at a young age not to look at hair as a color, culture or race. Instead, she instilled in me that “hair is a fabric.” With that mantra, I never approach anyone’s hair the same. I let their texture lead me in what to do.

For the film, creating the different styles was a collaborative effort with the director, Justin Simeon. He had a very clear vision of what he wanted the main characters’ hair to feel like.

It was then my job to creatively execute that vision. For instance, creating the double chignon for Tessa Thompson (Samantha White) was a little unconventional. The scene that it was for called for something urban, regal and militant. I thought it fit the bill and it was definitely one of my favorites to execute on set.

For Tyler James Williams (Lionel Higgins), Justin knew he wanted an overgrown afro, it was my job to figure out how to create it and keep it somewhat realistic. We went through a few options before the perfect wig was designed and executed.

With Teyonah Parris (Coco Conners), Justin was very specific with the exact style and cut for her main look; bangs and it had to look like a weave. Teyonah is completely natural so I had to make sure to protect her hair while keeping her in wigs for the entire film. So I had to keep that in mind when choosing what type of wig to design. My favorite part about her character was creating the blonde wig. “She” put in WERK. lol

Brandon P Bell (Troy Fairbanks) was the smooth one of the bunch. He was treated to multiple haircuts, fades, trims by a local barber Robb Kelly brought in named Ralph Williams.

Txture Magazine: Speaking of Tessa Thompson, I know our readers are going to go crazy over her gorgeous side updo. Can you walk us through it?

Kimberly Steward: All of Tessa’s looks started with a foundation of curls with body; her own natural curls with a bit of product, wanded curls or a mixture of both. The infamous side updo was done in 3 parts.

First there is the deep side part. That had to be done with a fine tooth and or rat tail comb, especially working with highly textured hair.

Second, the hair in the back two-thirds of her head is made slick on the side with the part and then rolled into a textured french roll on the other side.

Third, the top pompadour/roll is created to the side with the top third of hair that was left out. That piece is a mixture of a pompadour, because of the body and base that has to be created, and a 30’s/40’s roll. The very front piece is similar to a 30’s roller set and a 40’s victory roll, and has to be pinned in place but not forced out of shape.

Txture Magazine: What’s your most important hair & makeup advice?

Kimberly Steward: Cleansing and moisturizing! Great makeup starts with great skin and healthy hair starts with a clean and moisturized scalp. Skin ages and hair ages. There is a difference between body and hand lotion, oil and moisturizer for skin and a difference between conditioner, moisturizer and grease for hair.

Txture Magazine: Every year, more and more of us are going natural. Thoughts?

Kimberly Steward: I love it - both the naturals and faux naturals! ;-) I am a fan of #BigHairDontCare. I also think the trend has empowered us to take better care and spend more time with ourselves. I stopped relaxing my hair back in 2010. I had color in it at the time and I was so afraid of what my hair texture was going to be like. I let my hair grow out a bit to see my natural texture, then I went for the big chop! Now, I love every minute of it. Being natural allows you to be creative in a way that no one else can be - and that creativity is dependent on your texture. For me, I can blow it straight whenever I want and I can do more experimental colors without worrying about the color/relaxer mix.

Txture Magazine: Thanks Kimberly!

Give Kimberly love at the following links!

www.kimsteward.com

www.twitter.com/KimberlySteward

www.instagram.com/KimberlySteward