No fade on prices: Why Philly barbers are charging $100 and up for haircuts

Kenneth Carruth IV, the North Philly native known as The4thKen on social media, has made waves (literally) with his haircut tutorials and videos. The 20-year-old barber has amassed more than 1.8 million likes on TikTok, with his biggest video reaching over 2 million views. But it’s not always his clean lines and tight fades that are attracting attention.

In one video, Carruth showed off a mid-fade and noted, “My client paid me $80 for this haircut.” Other videos list prices well above $100. While some viewers were in favor of the price tag, others called the haircut a “scam” and wrote how their barber could do the same job for $15.

Before the COVID-19 pandemic, Carruth also charged $15 per head. But with more demand, and the rising cost of running a business, he had to raise his rates.

“I feel like pre-pandemic, barbers were undervalued,” Carruth said. “Now, barbers are starting to realize their worth and see that it’s not just about the cut. You’re providing an experience.”

And he isn’t alone.

According to the Bureau of Labor Statistics, haircut prices rose 6.8% in November 2022 from the same time a year before, which is the largest annual increase since the fact-finding agency started tracking the category. Men — who are used to paying with a single bill for their cuts — are noticing.

In the past, local barbers engaged in price wars with neighboring shops to have an edge on clientele. If one shop offered cuts for $20, another would offer them for $15. But the pandemic crippled small-business owners, said Damon Dorsey, 61, president of the American Barber Association. Barbers and other service workers were among the hardest hit.

To stay afloat, many chose to raise their rates.

Southwest Philly barber Nicky Prosseda, 40, said the seismic blow of the pandemic also inspired barbers to sharpen their business practices.

From the mid-20th century to recent years, Prosseda said, barbers enjoyed the benefits of cash-in-hand transactions and tax-free loopholes. But as the industry evolved, the slow rise in haircut prices didn’t match the hikes in beauty product prices, booth rentals, and Venmo and CashApp fees. And for many, it made barbering unlivable as a primary income source.

Prosseda, who charges $75 a cut, is the director of Philly’s Modern Male Barber Academy. “I truly believe that there’s this kind of pain for the sins of our forefather barbers and the past owners,” he said. “They didn’t teach us the best things in the industry, so you pass it down.”

Based on data collected in May 2021, the Bureau of Labor Statistics estimated that most barber salaries range between $22,430 and $53,260. Prosseda said that may be barbers’ reported income, but a lot have been making $50,000 to $100,000 for years. And with even more resources at their disposal, he estimates they will start to rack in upward of $150,000 per year going forward.

Along with better business practices, Dorsey said, barbers are now able to leverage their social media presence to draw in more clients willing to pay top dollar. Apps like Booksy and StyleSeat help barbers manage customer information and schedule haircuts. Barbers like Carruth have used them to expand their brands beyond their corner or neighborhood.

By building his social media brand, Carruth was able to open his own barber studio in Kensington. After turning his social media followers into loyal clients, he saved enough money to get a business license and land the small commercial space in August 2021.

“I know a lot of barbers that are great at cutting hair, but they suck at running a business,” Carruth said. “And with that, you can’t charge what you want because you’re just going purely off skill.”

While most of his clients understand his raised prices, West Philly barber Jalen Thompson, 23, said he’s had customers leave to look for lower rates. Thompson, who charges $45 to $75 for haircuts and more than $120 for house calls, is comfortable with that risk.

“We stopped being hustlers and turned into CEOs,” he said. “I became a barber because I love cutting hair, but I also knew how much money there was to be made in this industry. ... There’s an opportunity to retire early and really enjoy life and take on other business ventures.” Prosseda agrees that it’s allowed him and others to live a better, more balanced life.

“A barber’s career is not one of mental easiness or physical, so you have to raise the prices for the barber to have a work-life balance where you can put your kid on the bus, and go be the coach to your son’s football team, or whatever it is. You have to raise the prices in order for that to happen.”

The fruits of the industry, Carruth said, are enjoyed by barbers who learn how to adapt. Along with cutting different hair textures and embracing products like semi-permanent dye, man weaves, and other enhancements, it’s important to provide other services like hair washes, snacks, TV, and WiFi.

“There’s a lot of older barbers that are stuck in their ways that refuse to change, and unfortunately, they’re more than likely gonna get left behind,” he said.

Overbrook resident Ian Watson, who’s been a client of Carruth’s for nearly a year, said customers are willing to pay for the right experience.

“Depending on the quality of the cuts and the level of professionalism, people will pay to avoid the stereotypical barber,” Watson said. “I say it’s worth it.”

– The Philadelphia Inquirer

Philly filmmaker Walé Oyéjidé captures the beauty of Blackness in his debut feature

No matter the medium, filmmaker Walé Oyéjidé captures the beauty of Blackness in his artistic pursuits, and embraces his Nigerian heritage and wears it for the world to see.

Oyéjidé weaves the threads of his lineage with style as a clothing designer. And as a musician and photographer, he expresses it in song and image. Now, he shines a light on the Black experience and its lyrical allure with his debut feature, Bravo, Burkina!, set to premiere, in-person and online, at the Sundance Film Festival on Tuesday.

Written and directed by Oyéjidé, the film is a story of a Burkinabè boy who flees his village to start anew in a small Italian city, later traveling back in time to regain what he lost from his voyage. Beyond a tale of migration, the project explores love, loss, and discovery, themes Oyéjidé said resonate with people from all walks of life.

“It’s an immigrant story. It’s an outsider story. It’s a love story. It’s got time travel. It’s got a bunch of darts thrown at the board, and I think there’s a lot for people to connect with,” Oyéjidé, a Landsdowne resident, said. “It’s also unabashedly a beautiful African story. As much as you love Martin Scorsese’s fantastic Italian films, there’s room for this, too.”

A still from Bravo, Burkina! by Walé Oyéjidé, an official selection of the NEXT section at the 2023 Sundance Film Festival. Courtesy of Sundance Institute.Jake Saner

A part of his own story brought to the big screen

Like the film’s main character, Aimé, Oyéjidé was born in West Africa and became an immigrant of the world, growing up largely in Nigeria and the Middle East. As a teen, he and his family moved to Atlanta before settling in Philly, where Oyéjidé graduated from Temple University’s Beasley School of Law in 2010.

It’s a story that’s present in all of his work.

“My upbringing as an immigrant to America has informed all of my artwork and the way I see the world,” Oyéjidé said. “I’m always appreciative of the privilege and benefit of moving to this great country. But I’m also aware of the sacrifices many make so they can come here and the many loved ones they leave behind.”

From Philly lawyer to film director

While practicing as a defense litigator, Oyéjidé began exploring his love of menswear, eventually starting his own West African-inspired fashion brand, Ikiré Jones, with long-time collaborator Sam Hubler in 2012. Their eye for couture led to their first foray into the movie industry when Marvel Entertainment tapped the duo to make costumes for 2018′s Black Panther.

Black Panther was, before this, probably the biggest thing that people would be aware of our work for, and we’re grateful for all the attention and all the opportunities we got,” he said. “It gave me proximity and a chance to do more things.”

That included filmmaking.

“For those of us from immigrant backgrounds, there tends to be a strong emphasis on walking familiar and well-trodden paths — like being a physician or lawyer. Becoming a director wasn’t something I imagined in my youth. But in retrospect, my previous careers as an attorney, a musician, and a designer have all dovetailed here,” he said. “The films have become my arguments. The audience has become my jury.”

Filmmaking as an inevitable path

For the 12-day shoot, Oyéjidé and a small crew flew to Ouagadougou, Burkina Faso, and Bologna, Italy, operating a run-and-gun production with limited resources and an airtight schedule.

“He’s brilliant,” said Hubler, who helmed the audio of the film. “He went in with a pretty set script this time, but he’s also very good at kind of working with what is presented to him — the situation on what’s available on the day and working the story around certain circumstances.”

While the film is a “global effort,” the filmmaker insisted that the production wouldn’t have happened without “the help of Philadelphia’s film community” that supported the film through its production journey.

Giulia Alagna, who worked as a producer on Bravo, Burkina!, said the way Oyéjidé is able to take on other creative mediums is a lost art and reminiscent of iconic artists of the past.

“I always tell him, ‘You’re a real Renaissance man and you’re not even from Italy,’” she said. “Whether it’s poetry, photography, or directing a film, nothing seems unsurmountable to him ... and he conquers them all.”

Oyéjidé believes that it’s important for Black storytellers to showcase the vastness of the Black experience — within U.S. borders and beyond.

“I think the challenge now becomes, if you are choosing to make art that comes from this cultural perspective, we all need to challenge ourselves to just fly higher, be braver, and go to places that we haven’t seen,” he said.

“Bravo, Burkina!” will premiere at the Sundance Film Festival on Jan. 24 and can be streamed online. For information on upcoming screenings, visit bravoburkina.com.

– The Philadelphia Inquirer

Jack and Jill of America has been shaping the lives of Black children for 85 years. It was started by moms in Philly

In January of 1938, concert pianist Marion Stubbs Thomas invited 20 of her friends to her home in South Philadelphia to discuss starting a social club. The idea came from her friend Louise Truitt Jackson Dench, who hoped the joy and kinship of Christmas could be felt year-round.

With Dench’s vision in mind, Thomas created the Jack and Jill of America, a service organization of mothers dedicated to empowering Black children and families, ensuring they have the knowledge and resources to grow into young leaders. And after decades of advocacy and community work, the mother members and children of the group joined hands Saturday to celebrate 85 years of history.

Read More

Visual Artist Joshua Vides Discusses Creative Collaboration with GilletteLabs

Joshua Vides is a creative marvel in true form. 

Having lent his artistic powers to design products for brands like New Balance, BMW, Converse, Fendi, Puma and others, the California-based creative director is never short on innovation. For more than a decade, Vides has fused his passion for streetwear and graffiti and poured it into his craft. His production studio Reality to Idea has served as the perfect incubator for his footwear and apparel designs, sketch artwork and other creations to take shape. 

Before becoming a premiere name in streetwear and design, Vides worked for The Hundreds, SSUR, The Seventh Letter and ComplexCon as a designer, salesman and marketing manager in 2009. Around the same time, he founded the streetwear brand CLSC, a $500 project that later became a global entity with 400 retailers and a storefront on Fairfax Avenue in Los Angeles. 

Vides decided to step away from CLSC in April 2017 and used the brand’s success as momentum to pursue his dream of becoming an artist. Vides launched Reality to Idea in January 2018, and the design studio and production house has been a platform for him to explore his love for black and white monochromatic mediums and spread his wings artistically. Whether designing sneakers and apparel pieces, customizing iconic BMW silhouettes or putting on limited edition art exhibits, Vides has shown no signs of slowing up. And his recent collaboration with Gillette at this year’s ComplexCon is proof. 

The brand’s design and innovation hub, GilletteLabs, and Reality to Idea came together for an activation booth that offered an interactive look at the shaving experience. The Reality To Idea-designed booth highlighted GilletteLabs’ latest innovation, GilletteLabs with Exfoliating Bar, a razor that combines shaving and exfoliation technology. And as a continuation of the partnership and a testament to Vides’ versatility, he customized cleats for NFL Quarterbacks Josh Allen and Mac Jones for the My Cause My Cleats program. The two football stars wore the cleats during the New England Patriots and Buffalo Bills matchup on Dec. 1.

For Vides, the GilletteLabs collaboration, and others he’s stirred over the years, was a chance to embrace his own creative instincts and showcase the power art contains. “As a visual artist, I find collaborations to be an avenue of self-expression on different mediums and products,” Vides explained to Complex. “Showing off how anything can really become a canvas and art Itself.”

Complex recently caught up with Vides to talk about his artistic inspirations, the details of his creative process and how art can be a tool for philanthropy. 

(The interview has been lightly edited for clarity.) 

COMPLEX: How was it designing the GilletteLabs activation booth at ComplexCon?

Joshua Vides: ComplexCon is always something I enjoy being a part of. Reality To Idea was excited to partner with Gillette because it’s an iconic brand that most men have used since they first started shaving. They gave Reality To Idea the creative space to help bring their GilletteLabs brand to ComplexCon attendees in an innovative and authentic way. It was a great experience bringing the GilletteLabs booth to life, and everyone at ComplexCon had a great time with the photo booth and shaves with the Gillette Barbers.

How did the collaboration between your company Reality to Idea and GilletteLabs come together?

The collaboration really came together through the common mission that we share. At Reality to Idea, we are always looking for new ways to be at the forefront of culture and innovation. When GilletteLabs approached us to showcase their latest innovation of GilletteLabs with Exfoliating Bar, we knew it would be a cool partnership.

You’ve partnered with some of the biggest brands in the world – Fendi, MLB, New Balance and others – but what about this project piqued your interest?

I’ve been lucky to partner with so many celebrated brands. In the men’s grooming space, Gillette is often viewed as synonymous with the category, so when I was approached, I saw it as an opportunity to bring my skill set to another brand that has an incredible legacy and continues to create innovative products.

What was the inspiration behind the design of the activation?

We wanted the design of the booth to remind people of a barbershop, with a Reality to Idea spin. We used our signature black and white color scheme and added pops of bright green, which is an ode to the exfoliating bar on the GilletteLabs razor and packaging. Gillette wanted to do something completely different than last year’s ComplexCon booth, but (the brand) still wanted to emphasize the unique experience that the barbershop provides.

Could you detail what the creative process was like? Were there any challenges along the way?

I think there are always some unique challenges that present themselves when working with new products, especially when it comes to designing on such a large scale. It was important the GilletteLabs booth and the design of the smaller original pieces we made for the gallery all worked well together in the space.

You designed the cleats of NFL Quarterbacks Josh Allen and Mac Jones ahead of the  New England Patriots and Buffalo Bills game on Dec. 1. How was that experience?

I always enjoy working on shoe projects and collaborations. I have been painting on shoes since high school, so for me, it really feels like second nature. It was awesome to get connected with Josh Allen and Mac Jones, who are Gillette athletes, to work on their My Cause My Cleats cleat designs. I wanted to make sure they felt the design reflected the charities they are both representing – Mac Jones with Boys & Girls Club of America and Josh Allen with the Patricia Allen Fund. I was so happy to play a part.

The designed cleats are being auctioned off and the proceeds will go to charity as part of the My Cause My Cleats campaign. Talk about how important it is for you and other artists to be a part of these kinds of initiatives.

It’s important to me to find ways to give back through my work, and team up with partners who do the same. As an artist, I’m able to showcase the power of art to all different audiences, including through the cleat designs for Allen and Jones. I’m excited to see what the winning bid is for both sets of autographed cleats. Gillette and I will also be matching the donations from the online auction.

Bid on Mac Jones “My Cause My Cleats” Cleats here and Josh Allen’s “My Cause My Cleats” Cleats here.

— Complex

Where to find holiday bars and Christmas drinks in Austin this December

When the Christmas lights are gleaming, the carolers are humming and the spiked eggnog is poured, you know you're in for a magical holiday season. Lucky for you, you're in the right place for that last part.

Austin's most festive holiday bars have again sprung onto the scene, handing out festive booze like Santa Claus delivers presents. Here are a few of pop-up spots and fixtures that go all out worth exploring in December.

Read More

Mrs. Johnson's Bakery, beloved historic Austin doughnut shop, is back

With more than seven of decades of history, Mrs. Johnson's Bakery has long been a favorite among Austinites and University of Texas students, whose late-night cravings for doughnuts drove them to the North Austin shop's drive-thru window. Last year, fans were worried the iconic shop was closed for good.

The Airport Boulevard bakery was shut down for a year, but its closure led a change in leadership and some remodeling. Local restaurateurs Tyson and Graciela "Cherry" Blankemeyer are the new owners of Mrs. Johnson's, and they reopened the bakery's doors in November with a new look and the same classic offerings.

Read More

Iconic Austin blues club Antone's launches livestreaming platform

If you've ever dreamt of a concert in your backyard, the day is here. Antone's Nightclub is premiering a new livestreaming platform to teleport fans far and wide to the iconic blues venue.

Antone's will begin offering fans the "intimacy of live club shows in a virtual format through HD streaming," according to a news release. The Dumpstaphunk’s Phunksgiving shows on Friday and Saturday will be the first to premiere on the service, with both in-person and virtual tickets available through the venue's website.

Read More

Here's a list of seasonal Austin beers for a hops-step into the holiday season

We’re ready for some seasonal dishes, hideous sweaters, Christmas carols and the bloom of new family memories. ‘Tis the season to be jolly, right?

If you’re looking for a brew that has some pumpkin spice and cinnamon, or gingerbread and oat flavors, consider your wish fulfilled. Here are a few Austin bars and breweries offering holiday-themed beers. Looking to find one in the grocery store? Check with the breweries for retail availability.

Read More