Nikki Nelms, known for her memorable hair artistry in Solange Knowles’ “Don’t Touch My Hair” music video and Zoe Kravitz’s iconic braids, recently added Guest Editor to her impressive resume. Appropriately nicknamed the Hair MacGyver, she edited Headz, the first and only ‘zine from COMPLEX. The ‘zine is dedicated to the artists behind the most impactful looks of the 1990s, which created some of the most memorable moments of last century. Nelms tells us how the project came together!
Tell us about your role as Guest Editor for Headz!
I brought an idea to COMPLEX that I had for a long time because I’m such a fan of the 90s Black American culture and its contributions to beauty and society as a whole. I really wanted to highlight the people that I feel like don’t or didn’t receive the praise. My role was to bring all of that to life with Headz for COMPLEX.
How did this opportunity come about?
I was working with wardrobe stylist Karizza Sanchez for the Grand National Tour when I was really trying to figure out how to bring the idea to life, and she introduced me to the Editor in Chief, Aria Hughes, who was a real advocate for making this happen. I’d also been working with Gina Batlle, the VP of Creative, on several COMPLEX covers before, and it just made sense to do something like this with someone you have a history with. We had a little glue already.
What did the role entail?
I’m very passionate about this realm, so the role for me was very all-encompassing. I brought examples of how I wanted it to look, all the way down to how I wanted the cover to look, the fashion story. I wanted it to be a nod to the ’90s club scene, where you would take the Polaroid pictures in the club, and I wanted the interviews to be very specific, curated to highlight the hairstylists of the ’90s and early 2000s that helped to shift culture. For example, we featured Geneva Morgan, who was the Department Head of Hair for the Martin show, and created all the looks for Sheneneh, Dionne Alexander, Lil’ Kim’s original hairstylist, Kim Kimble, who did B.A.P.S.’ iconic hair looks, along with being Janet Jackson and Michael Jackson’s hairstylist.
What appealed to you about the project?
The opportunity to highlight a very specific aesthetic, the Black American aesthetic, which I think oftentimes is imitated, borrowed from, but the source of it is never really highlighted, because it’s not always considered elevated. I jumped at an opportunity to publicly celebrate the people who are contributing to the culture quietly, but are all over moodboards. I wanted to shine a light on things that I felt like were in the shadows or weren’t celebrated through a Eurocentric kind of gaze.
What was the research process like?
This was really a passion project for me, so inspiration really started in the 90s, back when I was a kitchen-tician. I used to do hair in my mom’s kitchen and in school. I started doing hair in third grade, so I think about the hair magazines I looked through then, and brought that aesthetic to work with me. I didn’t have to do much research. All I had to do was just remember the things that I loved. I’ve met a lot of people along the way. A lot of my research involved thinking back to my experiences and reaching out to friends who lived in areas that we shot in. Luckily, the stylists were trusting of me and what I would do with their information and experiences.
Let’s talk about 90s hairstyles. What were some of the most iconic styles of the decade for you?
French rolls, waterfalls, finger waves, ponytails, microwave ponytails, flat twists. There really are so many, and sometimes, the most iconic looks were all of them together. You know, like how many can you get on one scalp? My favorite hairstyle of them all would be a very clean ocean wave. I loved a good ocean wave going into a French roll. Truly, there are so many lanes you can take. You just don’t do one. You do them all and see how you can blend them well, seamlessly. It’s just, you know, it’s beautiful.
What is it about this decade that interests you?
Just the creativity behind it – the precision, the extravagance mixed with daily life. You would see someone with a style that most would consider for a wedding or prom, but it’s a Wednesday. It’s for no reason, but it was so beautiful.
Love that! What was your favorite part of guest editing, and what was the biggest challenge with this project?
Scheduling would be the biggest challenge. At the time, I was department head for Beyonce’s Cowboy Carter Tour and Kendrick Lamar’s Grand National Tour, so I was going between those while coordinating the interviews and shoots for this project. So, finding time for all of us, and making sure that I’m being accommodating as guest editor, was really hard. My favorite part was seeing it all come together and being in the same room as such talented stylists. It really took me back to the old salon days, where it was very communal and very friendly. I also had such a good time working with Zuri James, Savannah James, and Rickea Jackson. Seeing them all transform into what my idea of the 90s girl was so fun to watch and take part in!
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