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Ode to brunettes.(excerpt from ‘Big Hair’)

Cosmopolitan June 1, 1996 | McCracken, Grant All the great beauties of the world are brunettes. It is brunettes who win hearts, stop tongues, and take the breath away. It is brunettes who rule men’s hearts. It is brunettes who make men cry.

That got your attention, didn’t it? We are not accustomed to hearing brown hair praised. It is, usually, the residual color, what you’re left with if you don’t move to blonde, red, or black. Brown hair is for people with no sense of drama, confidence, or force of personality. It is for the timid, the meek, and the mild.

The time has come to speak more generously of brown hair, to acknowledge its transformational powers.

Brown hair is the perfect complement to beauty. It is the real companion of self-confidence. Brown hair is the supporting cast that lets women claim center stage. After all, women wear brown hair; it doesn’t wear them.

Blonde hair is, by contrast, a selfish color. It seeks attention well, but it is frequently working on its own behalf. When a blonde creates a sensation in traffic, he wearer gets only some of the credit. Blondeness takes the rest. Ask men what they saw. “Oh, well, a blonde,” they will tell you, blinking at the sheer difficulty of the question. They didn’t see the person. They saw a hair color. They saw an icon. Hence the blonde’s dilemma: “Is it me or my hair?” And what about the redhead? Red hair has powerful meanings that provoke powerful reactions. But often, this is the hair talking, not the wearer.

Blonde and red hair declare themselves at a distance, well before you can see the people wearing them. As they approach, all the stereotypes of the color come rushing into consciousness. Finally, the wearer arrives, but by then, it’s too late. There is no room. Your mind is filled with all the conventional notions. The wearer is once more just a medium for the message, just a carrier of the color, just another redhead.

Brunettes do not announce themselves from a long way off–which lets them take you by surprise. A man is marching down the sidewalk, lost, perhaps, in thought. And suddenly, whammo! He’s been claimed by a brunette. He aches for another glimpse, but she is gone. He has possessed beauty and lost it.

Brown hair is an enabling color. It enhances a woman’s beauty without claiming to be her beauty. It is left to the viewer to decide what this beauty is. Brown hair gives you no clue, no instruction, and it provides no interference.

This makes brown the “transformational” color par excellence. It is, after all, all the colors combined. Louis Licari, one of the great Manhattan colorists, says, “If you look at brunette hair, it’s rarely all one shade.” Medium-brown hair, for example, will have many different tones, from golden strands to dark brown, and there might be some red or sunburn in it too! Brown hair, far from being mousy and drab, provides a wide palette of possibilities, all of which can be used to represent the diverse aspect of the brunette’s self. go to website highlights for brown hair

The brunette can be a hot beauty, or she can be a cool beauty. She can be a beauty of great refinement or of perfect sensuality. She can be ethereal or earthy, distant or vivid, exotic or familiar. The brunette can even be the mind-stopping combination of all these things. Brown hair creates possibilities, not obligations.

Brown hair is especially powerful because it works so well with skin. Blonde hair often makes women look washed out. It is busy capturing and casting as much light as it can. The face that is not endowed with strong and vivid features loses out. Black hair on white women can create a terrible contrast between hair and skin, making the face pale and sallow by comparison. You i’ve to have the big-featured beauty of an Anjelica Huston to survive the contrast.

Brown hair makes beautiful skin glow. It sets up a tension between the two that is neither competitive nor cruelly contrastive. Some of Andie MacDowell’s beauty comes 1rom the play between her skin and her hair. Winona Ryder also has second-look beauty of the first order. The more you look at her, the more her beauty manifests itself. see here highlights for brown hair

Brunettes can do sexuality with great discretion. They do effortlessly what the Hitchcockian blondes could do only by artifice. They can turn up the volume of their sexuality by carefully modulated degrees: Unlike like blondes, who start loud and stay loud, brunettes reveal their sexuality in stages. Brunettes do not trumpet a sexual message, as some blondes and red-heads do. Instead, the message steals up on you and takes you unawares.

Traditionally, our opinion of brunettes has not been generous. People say this is the blah color. As the blonde regime established itself in the forties and fifties, Hollywood became increasingly unkind to brunettes. From the thirties onward, there have been no fewer than twenty-six films celebrating blondeness in their titles, including Incendiary Blonde, Platinum Blonde, and Adventurous Blonde, as well as Blonde Trouble, Blonde Bait, Blonde Blackmailer, Blonde, Crazy, Blonde, Dynamite, and Blonde, Fever. The brunette was so favored exactly twice: My Favorite Brunette (1947) and Gentlemen Marry Brunettes (1955).

Hollywood, one of the great creators of our culture, has used brown hair over and over again to suggest a retiring personality, a lack of confidence, a certain unworldliness. Take the otherwise forgettable movie Superchick (1973). It is about a blonde flight attendant who is so hotly pursued by men that she finally changes her hair color to a mousy brown. Only then is she left alone. In this typical symbolism, blondeness is the sign of excitement and glamour, and brunetteness, the ordinary and banal.

So much for Hollywood. What did the hair industry think about brunettes? Lawrence Gelb of Clairol, speaking in 1961, was unambiguous about it: “Nille out of ten women would choose to be blondes if they could do it by pressing a button. Nothing ever has induced women to favor dark hair.” Naturally, Gelb had a vested interest. Clairol was selling a lot of bottled blondeness at the time. But he’s right; there was a time when brown was not a color anyone chose. There was a time when brown hair was regarded as an unwelcome, even tragic, accident of birth.

You can blame most of this on Marilyn Monroe. It was she who legitimized the blonde. After Monroe, blondes could be both sexy and innocent. Brown hair was now truly eclipsed. It had become the mark of domesticity, wifeliness, and a certain absence of personality. There were good qualities to all this, to be sure. But when it came to winning the hearts of men, brown hair didn’t do it.

Fortunately, the world is changing. Brown hair appears to be undergoing a transformation. As the nineties started, we heard journalists summoning a laudatory language for brown hair. Now it’s “shiny auburn,” “silky brown-black,” and “rich chestnut.” One journalist struck it blow for reevaluation of the brunette when she declared, “Dark hair is now the most exciting, confident color in town.” Colorists have joined the movement. They no longer advise women to move away from brown hair. Louis Licari is clear on this point: “If you’re a brunette, just be a great brunette. Who am I to tell people to go blonde?” These days, colorists say stay put.

Even Hollywood is coming around. It is now possible to be both a brunette and a starlet. No one was impressed when Geena Davis and Julia Roberts moved to blondeness, and they soon moved back.

As women continue to reclaim the self, brown hair will come into its own. As they continue to refute sexist stereotypes and expectations of parents, husbands, and children, brown looks better and better. It has no heritage of compromise. It has never been the color you wear to please your man. It has never been the plaything of Hollywood. It is a, color women can wear for themselves.

McCracken, Grant