When doyen of ‘dos Kim Kimble and mane maestro Chuck Amos hopped on the phone for a chat, you know good and well we assumed fly-on-the-wall position, because that’s one conversation any Mane Addict would kill to eavesdrop on. Currently hailing from Los Angeles, she is the woman behind the manes of Beyonce and Zendaya; creator of natural haircare line, Bounce Back Curl Collection; owner of Kimble Hair Studio; and star of her own WE tv show, L.A. Hair. Making manes beautiful from the Big Apple, he turns tresses out for Oprah, Lion Babe, Gabrielle Union, Tracee Ellis Ross, Janelle Monae, and Iman (just a snippet of his elite roster), and crafts mane masterpieces for umpteen ads and editorials.
From Chuck’s early fascination with Barbie doll hair to Kim’s way of playing it cool around her A-list clients to the two reminiscing about the day they first met, the details these celeb hairstylists revealed gave way to one of the more telling conversations in our series. Buckle up, because you’re in for one helluva hair (talk) ride.
CHUCK: Hello, it’s Chuckie.
KIM: Hello, good morning, Chuckie.
CHUCK: Girl, are you laying in bed?! Is it 8 o’clock in LA?
KIM: Haha, no I wish I was in bed. No, I am up and getting ready.
CHUCK: I just wanna know how you find time to rest, because you’re everywhere all the time. Do you travel or have vacation with your schedule, what is your thing Kim, because you really, really work a whole hell of a lot.
KIM: I’m one of those people who’s really passionate about what I do, passionate about my job and have goals, and I’m pretty focused on making those things happen, but I am working on it. I have not perfected it yet, but I’m definitely working on creating time because I love to go on vacations, I love to explore and experience other places and I’d love to do more of that, spend more time with my family and spend more time taking care of me. Because, you know, when I met you, we were spring chickens. I’m starting to feel that I need to learn how to take care of myself and be healthier. I’m starting with taking care of myself, eating better, making better choices there and spending less time doing and eating what I want to, because I definitely want to prolong my life. In between, I try to get a lot of massages, because we have a lot of wear and tear on our bodies from flying, from traveling and eating where we can in between—it’s really rough. So I’m learning. I haven’t perfected this yet, but I’m learning that I need to start making some changes in that area so that I can continue to do what I love to do.
CHUCK: Yeah, that’s cool. That’s me too. You do hair, you do wig-making construction, you’re basically producing a TV show as well, and you’re devising products, promoting those products. Plus, you have salons and employees. Pus, like, Beyonce called. I couldn’t even keep up with you. I’m exhausted just saying that.
KIM: Yeah, it’s not easy.
CHUCK: You’re definitely passionate and that changes the make up of your head to make you go towards what you want, which is massages and healthy food and getting yourself together, which is awesome. I wish I had your ambition, Kim, omg, I’m such a hippie.
CHUCK: Did you have one for me, do you have question for me, Kimmy?
KIM: Of course, I’ve got a couple for you. I’ve known you for a while and I’ve admired your work for so long and you do something that I haven’t really had a lot of, I’ve had a little experience in, but not like you. I know you’re probably busy doing NYFW. I just want to know who you did and what exciting things you turned out, because I think you’re an amazing hair artist. I want to hear a little about that.
CHUCK: Well, it’s funny because this was the most anti-fashion week of fashion weeks across the board. None of the designers, no celebrities really showed up this year. Everyone was at Saint Laurent in Los Angeles and they kinda stayed there and that was kind of it. It was really low.
KIM: What?! In LA?
CHUCK: Yeah, Saint Laurent did their fashion show in Los Angeles and barely anyone traveled to New York this year. I did Alice and Olivia, Stacey Bendet, the designer for A+O, I did her hair for the show. But there was no turn out. Tracee Ross came here to fashion week and I was like, “Yay, what shows are we going to?!” And she was like, “No, I’m just here for Glamour Magazine and The View.” And I was like, “Huh?!” It was the most mediocre no-fashion week fashion. However, there were some cute things on the runway.
CHUCK: I mean, Eugene Souleiman always turns things out. But for me, it was kind of null and nothing. I had a couple advertisement jobs which I took because it was money versus putting hair in a ponytail on a runway.
KIM: Gotcha, okay.
CHUCK: Fashion, I’m hoping, comes back together and there’s a rehash of like, no cellphones, no advertisements, no product placement and we can get back to just being art and artful expression, because it’s become so mainstream. You’ll get a whole team together, you get a sponsorship by a company and with the non-experience of the team that you’re provided by the company that’s sponsoring it, they pretty much want a ponytail or a braid, so you end up having that kind of feeling and it’s not worth doing anymore.
But I’m hoping that it’s coming back because I’m seeing a lot more art stuff, a little bit more this year on the runways. And they’re bringing back the old-school kids, like Orlando [Pita] and Guido [Palau] to really head some younger shows. Milan and Paris have been turning out hair and makeup trends. I’m just overwhelmed with this new generation of looks that are coming out of Europe right now so I’m hoping it’ll come back to New York and they’ll want the expertise. If you want a ponytail, you can hire anyone, but if you want extravagance, then call me, because I want to express and show art on the runway. That’s what I was brought up with with fashion from the 80s and 90s. I wish I had a better answer for you for this one.
KIM: No, but hey, it’s real.
CHUCK: Fashion shows, they should have, 10 or 15-minute videos. They should do a 30-minute video with a great director and it could be Givenchy with Martin Scorsese or Nick Knight with Vivienne Westwood. They should all make runway videos, incorporate all their clothes within the video told by a famous director and put all those stories on one a website, like Vevo or MTV for Fashion Week then you wouldn’t have to worry about everyone attending all the venues and all the model hirings. You just put it all together in a package.
KIM: I love it!
CHUCK: No one wants to go to a place to look at it when you can see a real interesting way of expression through a director’s eye on your phone, on your television or tablet. I think the new generation is more visual based on the visual objects we have in our pockets to look at all the time. The audience is getting more visually stimulated instead of just attending a place. I’m hoping it’s changing so we can get great art and expression back. I think we’re at that turning point.
KIM: It’s a great idea. I agree, I’ve been seeing a lot more hair and fashion films, which to me is something I’ve always been interested in. Oh, hold on, one second.
CHUCK: See, Kim’s busy all the time. Kim had to go away, because she had an appointment. That’s how busy she is! I’m more hippie-like. I’m more artist than business, so I’m not passionate about making or promoting a product or all that stuff. Give me any material and add it in with hair and put me in a room and just let me go at it and I can create art all day long. Kim’s got salon and employees, OMG, I couldn’t be that way. However, as I’m getting older, how long can I go schlepping a bag around going to appointments all day when I’m 60 or 75-years-old. Maybe I need to do something that’s a little more sit down in an office, more business-like so that I can retire out of the business. I’m so much more hippie though.
KIM: Sorry about that!
CHUCK: I said, “There goes Kim!” It’s only 8 AM and you’re getting appointments and calling people.
KIM: I got a big job this weekend and I’m having tons of hair made for stunt doubles, and this person, she’s hard to get on the phone so she wanted to confirm some stuff. Sorry about that.
CHUCK: That’s all good. I love it, I love it! So, I really didn’t know that you had a child.
KIM: Oh yeah, haha.
CHUCK: I don’t even know if it’s a he or a she.
KIM: It’s a boy. He’s sixteen.
CHUCK: He’s two?!
KIM: No, no, no, he’s sixteen. One-six. I have a teenager!
CHUCK: Hahaha, I got it, I’m just picking my mouth up off the floor.
CHUCK: Anyway, that was my question: You had to fit him into your schedule in life—how’d you do that?
KIM: It’s so funny, I was having a conversation this morning. It’s been quite a sacrifice…you know, it’s very difficult when you have that kind of career and you’re trying to raise a kid. I did have a great support system, thank God. I had family there to support me with him and make sure he didn’t lack much. And then, of course, I had to plan special events and times for us to get together and do things. I’m such a girly-girl, I know nothing about being a boy. I wasn’t even a tom boy. It’s difficult to raise a young boy to a man. Luckily, I’ve had a lot of help from coaches, because my son is heavily into sports. He loves basketball, he is driven to become an NBA star.
CHUCK: Oh my god, I love that!
KIM: Yeah, he studies it on YouTube. This new generation is so interesting. So, I support him a lot in what he does, so I’ve had to learn a little bit about sports. It’s like, ooh the only thing I knew about sports is I’d do some of NBA wives. That’s how I knew who was who, because of who they were dating, but now I had to get into it a little bit.
CHUCK: Now that he’s older, does he fan out on your clients, like, “Omg, mom’s doing Beyonce today in San Francisco for Super Bowl!”
KIM: He’s too cool for school so he acts like nothing’s a big deal to him, like none of this is a big deal. Listen, I’ve gotten him signatures from different ball players like Magic Johnson, Dwayne Wade, Chris Paul gave him some shoes, because I’ve done hair for their wives or someone close to them…gotten him all kinds of signed things. He’s excited about it, but he doesn’t act like it’s a big deal, you know what I mean? I have yet to impress him. I think secretly he is, but he just doesn’t make a big deal about it. You know? That’s his personality.
CHUCK: Hahaha. I know a person like that. Because I’ll be screaming over something—you’re like, “Yeah, I did the Super Bowl with Beyonce,” and I’m losing my head over it, and you’ll be like “Yeah, yeah, it was good.” I freak out and you’re always calm. So, maybe he gets that from you.
KIM: Deep down inside, there’s excitement. I just want to do a great job, so my mind won’t let me be excited, I think. We don’t always get crazy about stuff. I think that’s part of our personality. I guess I have to take the blame for that one, he’s a lot like me.
CHUCK: Well, if he has any passion like you, Kim, he’s going to be a major basketball player. We’re definitely gonna see him on the cover of Slam and some other magazine.
KIM: Yeah! I used to cut his hair for years and now he’s got his own barber. I was like oh okay. He chooses to have a barber instead of his mom doing his hair. I’m like ooh, okay. Well, I have another question for you.
CHUCK: Go for it.
KIM: I hear that you went to design school and you draw out your hairstyles that you create before you go on set.
KIM: I think that’s an amazing talent. That’s a great way to create hairstyles, and visualize what you wanna do. So I wanna hear more about that, because that’s intriguing.
CHUCK: I have not taught classes but when I do, I want to say “when” because it’s not an “if” anymore—because when you learn, you teach. It would have to be a prerequisite where you’d have to learn some sort of drawing. I have it on my Facebook—if you’re doing salon hair or hair for an event or red carpet, it has to be 3D, the hair has to go around to the back, like they have that special camera on E! But if you’re doing a flat picture that ends up in a photo, flat magazine paper, a poster, or a billboard on a wall, it’s always flat. Create the excitement of using the space of the four corners, that’s what illustrators do. That’s been going on far, far beyond hairdressers doing photoshoots, from pictures on the walls in the pyramids to Rembrandt or Caravaggio or even the new age painters like Picasso. Using spaces between four corners to express what you need to express.
CHUCK: With illustration, you’re able to control what you want to fill in the space prior to getting on set and having to actually produce a look. You can get on set and produce the look and not know where you’re going to place the hairs or where you want things to fill, because when you’re snapping the camera, only the photographer can see the four corners but you can only see the 3D picture because you’re standing on the side. So, if you have that control, knowing this is how I want it to actually look the night before by drawing it out and you want the hair to fly up the left or to the right. Whatever it is, you create excitement of the four corners of that space that you’re filling, whether it be advertisement, editorial or fashion shot—it should fill the space within the composition of the four corners.
Diana Vreeland, the editor of Vogue for like a thousand years, has a documentary called The Eye Must Travel. And there’s a movie called Looker with Albert Finney and it’s about how people view pictures and advertisement—we scan every scene of a commercial or a picture. So, if you’re conscious of knowing, as Diana Vreeland noted, how the eye must travel throughout the picture, then you want to create a look that when the eye looks at the picture, it feels comfortable and inviting. And when a person feels that way, psychologically they say, “Oh wow! The hair was beautiful” It could be the worst hair ever—it could be dry and brittle—but if you put it in a certain, the way it was placed and the way the strands fell across the face was compositionally determined in order for your eye to travel so when you looked at it, you were like, “Wow, that was really sensuous or it looks like it happened by chance.” With drawing it out, you’re able to do that and you’re doing it on a flat page, so if there’s anything that you need to distort within the picture, you can distort it within the picture knowing that it’s going to end up looking like what you drew on the flat paper, because it’s going to end up being flat at the end of the day when they print it out or put it on the website. People can’t walk around the back of the computer and see the behind. So the flatness in drawing is really crucial.
KIM: Right, right.
CHUCK: For red carpet, events, press, and salon, you do need to have that three-dimensional teaching that we all learn in beauty school. I’m trying to teach the new generation that view of being a hairdresser—view yourself as an illustrator. Illustrating a look that is going to end up on a flat page just like a painting on a wall. I tell kids to try to draw. I knew how to draw a little but when I went to FIT, I dropped some gym class or something and took an illustration course and it was really interesting. I had no idea it was going to help me with the hair until I got pressured to do jobs and they were like, “We wanna know exactly how the hair is going to come out.” Back then, we didn’t have Google and Pinterest to go, “Oh, it’s going to look like this. How do I explain to them how I know the curl is going to look in order for them to hire me for the job? I said to myself, “Let me use my FIT skills, and I’m just going to f*cking draw it out for them,” and when I did, they ended up loving that. That led to other advertisement companies because every single one asked me to draw the hair. That’s probably why I get a lot of ad jobs.
There are different shapes too. Like with afro shapes, if you see my different advertisements for Creme of Nature, Pantene, Dark and Lovely—those three, we end up doing shapes like pentagon-sharped or octagon-shaped afros. So, I’ve moved on to geometric shapes with hair and drawing. For example, the outer silhouette of the hair and the inner silhouette—if it’s a square bang, it would be a square and a rounded top or vice versa. When you’re drawing a picture, there are different geometric shapes that you can place within the interior of hair, which is what surrounds the face and the hairline and then the exterior, which is what surrounds the outer edges of the hair.
KIM: Let me just say, you’re going to be a great teacher. I’m so excited. You know, I teach a class called Fashion Forward and one of the things I do always talk about is the flat surface of magazine and prints. Like you said, about the shape on the page. But you took it to a whole other level. I used to draw when I was a little girl and make my own hair magazines. I stopped drawing those years ago, when I thought I was going to be a fashion designer at one point, but then I fell in love with hair so I kinda let that go. It’s so interesting that you say that, because you just opened my eyes to an experience that I think you should definitely teach.
CHUCK: We’re only moving forward in flat screen stuff, like telephones and TV screens. Well, who knows, there probably will be 3D hologram magazines where the 3D picture pops up out of the magazine or the tablet, and you’re gonna have to do the hair all around. Oh, god!
KIM: Yeah, you’ll be ready for any of it though!
CHUCK: My next question is—Kim Kimble, please call E! and ask to be a special guest on that Fashion Police show because they need a hair and makeup person. They need someone who can talk about the neck up. And I’m not in California, so I’m over here going, “Why don’t they have a glam person over there?!” They need someone who’s an expert like you. And about your curly hair products at Sally Beauty—when did you start the curly product line?
KIM: Aww. I started my haircare product about 15 years ago. One of the main products was the Bounce Back Curl Revitalizer which is a gel used to create curls—it doesn’t get hard, and it gives curl great definition. Curly hair is something I’ve always been into. The Bounce Back Curl was one of our leading products for a while so I created an entire line based around natural hair so shampoos, conditioner, a liquid curl enhancer, a curl cream, and a curl cocktail, because women love to cocktail their products to create the right curl. I don’t think one curl is created equally. Everybody has different curl pattern. When you cocktail the products, you customize it to what you want because it may be hard to find with one product. It’s paraben, sulfate and alcohol-free. It’s very hydrating, because curly hair, oil doesn’t travel down the hair shaft really well so hydration is key. It’s also great for styling. Sometimes you have product that’s hydrating but it doesn’t really lock in that curl—once the product dries, you have nothing, so it took me 15 years to really develop these products. It’s been a passion of mine for years. I love making products. Products are either too greasy or too oily, or they’re just great for styling but then my hair would suffer because it would dry out my hair so it was really important for me to create a haircare line.
I’m a third generation hair stylists and my grandmother was really into nutrition and haircare and she created treatments at home on her clients. My grandmother, I say that she could grow hair in her hands. I picked up some of the things that she did, not only in nutrition and how I eat and cleansing, detox, but also her haircare treatments. I always wanted to be a great hairstylist, but I always wanted my clients hair to be healthy as well, so that’s sort of been my mission with all my clients—to not only give them great style, but also for them to have very healthy hair. Style and healthy hair should coexist. So everything I create, from hair extension to products to tools, it’s all about hair making sure hair says healthy and we don’t compromise the integrity of the hair to create style.
CHUCK: Which is basically an extension of you, Kim, because they’re not just receiving stylish hair, but they’re also leaving the hairdresser with healthy hair as well. So it’s definitely an extension of you. That’s great, Kim, because I’m dying to get my hands on some of these products.
KIM: Stephanie, we must give him product! I’m gonna send you everything so you can have to play with. When you start teaching, you need to have those things ready.
CHUCK: I always feel I don’t want to be a spokesperson for my brand. I would like to speak for everybody and others. I would like to say, “Oh, I tried this from Kim Kimble..” and have a buffet of all the products that work well. Like you said, the cocktails of curls and different things.
KIM: That is fantastic!
CHUCK: I’m afraid of doing my product, because how could I come up with a curl product. You’ve been doing it for almost 30 years. How could I compete with that?! Why would I want to take my product and have an ego? In the long run, the customers wouldn’t be getting that expertise, because they’re coming to me and I’m just using my name as opposed to someone who’s been in it with their hands like yourself. That’s how I feel. However, I can teach classes, because I’ve been doing that for years.
KIM: I know you have that creative mind and it is a lot of work, it’s difficult and it takes a lot of money to establish a brand. I’m learning a lot, so I’m very educated in building a brand. It’s easy to say, but it’s not as easy to do. If you decide to do it—hey, I’m here if you want any kind of tips. I wish I had people that gave me tips.
CHUCK: Kim, you’re always here for me! Always. Every time I call, you answer me right back within the day. You’re so professional and I live for you. You can’t even get people to call you back here in New York and they got nothing going on. I know you’re definitely there for me. You’re so pro-Chuckie.
KIM: I feel the same about you. I admire your work and you as a person. I think you have a great story as well in what you do, which brings me to my next question is: Why hair and how did you get started?
CHUCK: My mom said I was grabbing hair when anyone held me in their hands, I’d always grab their hair and pull their hair down. I was like, “Omg, I was born to do hair.” I can’t even remember, Kim, how much hair has been in my entire existence of life. I remember when I was eight or nine, just playing with Barbies and I’d put their bodies between my knees and just go at their hair with a brush. The hair would get frizzy, because it’s synthetic hair, and if you keep brushing it, you’d have to cut it so my Aunt would have to cut my cousin’s Barbies’ hair because I’d always brush their hair. So they’d have to hide the Barbies from me. I would freak—I needed hair so my mom had to start buying Barbies for me because everyone was like, “Chuckie’s coming over, hide your dolls!”
CHUCK: There was also a course, it was for kids who are low-income, where you could learn a trade during summer and they’d give you an $80 check per week and I went to cosmetology class. I freaked out over the mannequin’s hair. I couldn’t take it. When I was there, I learned how to use hot tools and I was only fifteen and I was like freaking out!
KIM: How cute. That’s so cute!
CHUCK: I lived in the Berkshires, Massachusetts and that same summer, my aunt went to Albany, New York and she came out of her blue Bronco, started walking up to our doorstep and I remember her hair was totally long, but it wasn’t a wig because you could see the front of her hair. My mother was like, “What happened to you?!” And my aunt said, “I went to Albany and they gave me these things called hair extensions.” I freaked out. It was 1984. A lot of people think hair extensions came out in the 90’s but they didn’t—it was through the late 70’s and 80’s with extensions. So my aunt got them and I learned how to do them. I freaked out. That was it—all I wanted to do was extensions and hair, hair, hair. I didn’t realize—Michaela Davis interviewed me for Ebony Magazine and she asked if I have any other passion that I love doing besides hair. And I was like, “Magic tricks!” I mean, I was the magic trick king!
CHUCK: And she said, “Chuckie, you’ve meshed both of your worlds together in this world that you work in, because it’s all about illusion-making and I was like, “OMG that’s what it is!” So when extensions came—they’re the perfect marriage between magic tricks and making people believe something that it’s not, or wig-making. They’re an illusion, and to marry that with hair, and that’s where you get Chuck Amos.
CHUCK: A lot of the stuff is magic. Hair companies don’t want to use extensions, but if you assure them that you’re an expert at blending them and that they’ll look seamless to the eye, they’ll let you use them and they’ll turn their back like prison guards at a fight, they won’t look at it.
KIM: Right. That’s pretty cool!
CHUCK: Yeah, since I was a kid. And I did nothing else. I did absolutely nothing else. I would do my mom’s hair everyday all day long and I would do mannequins’ hair and after school, I would cut the kids’ hair. And media and television, but it all goes in one. Going to TV, my question to you Kim is, how’s the TV show going? Are you on season four or five, is it happening? I enjoyed it and it seemed like it was happening.
KIM: Actually, we are shooting season 5 right now. I’m lucky enough to be the executive producer on the show, which is an extension of my creativity and being able to share what we do behind the scenes is exciting for me. When I started working in television and film, people would ask me, “What’s that like?!” and all this other stuff. At first, when they asked me to do the TV show—I wanted to produce shows, create shows in fashion and beauty but to be on a show— it was not my ideal thing. I didn’t want to do that. But, I gave it a chance and now I’m glad that I did it, because I love representing my industry, which I love so much. I just think it’s a great opportunity and I don’t regret doing it. I want Chuckie to do a guest appearance on my show.
CHUCK: You’re filming already. I’m like, “Omg, am I missing out?!” You have so many celebrities on the show. I need to get to LA. I so need to be on the West Coast for a minute. I need to feel the industry on that side. I see you, Larry and all these other kids doing it on that side of the coast and holding it down there. I don’t really feel that in [New York]. I need to come out there and do a guest appearance on your show, stay out there for a couple weeks and soak in some LA feeling, because New York is so rigid. But your TV show is very important for the industry, for us to see, Kim, because there is no other industry TV show that deals with glam.
KIM: Thank you. I’m excited to keep doing it. I’m very blessed that we’re on season five. It’s definitely difficult to do. I got some big things going on in my career that I’m willing to share and document. I love working with the celebrities on the show. I think it’s going to be a good season. I have another question for you: What is the biggest shift that you’ve seen in the industry from when you started 20 years ago until now?
CHUCK: The flooding of people wanting to be “it.” Omg, don’t even get me going. And the dumbing down of a culture. A lot of the children don’t know where things are coming from, like they still don’t know the history of Givenchy, for example. Some of the best of artists and creators existed in the 1970s to about 2002, when media was at its highest and at its absolute best. The 80s and 90s, maybe the first three quarters of the 90s, involved this heightened media power of advertisement, which spurred the millennial age. It spawned such a baby of this millennial age. Our time was so creative and so pungent and enriched with creative minds that if you don’t remember those times, then you won’t know everything that’s been happening now is a watered-down, mainstream view of that.
KIM: Right, right.
CHUCK: In an interview Annie Leibovitz had in her HBO documentary, she talks about the fact that it’s not the artist who waters down this views, it’s that the audience is no longer there to say, “Oh, that’s how it used to be.” That I believe is the biggest shift. I come on set and they don’t want the hair to be expert, they want me to mess it up. They’re like, “Just mess the back of my hair up and I can go that way.” And I’m like “You wanna look like that?” They’re like, “That’s what’s in.”
KIM: Right. I know how you feel about that.
CHUCK: Yeah, you’re clicking your fingers and it’s looking fierce and the model goes, “This is too beautiful.” And you’re like, “What?!”
KIM: I know! Or too much makeup. Where did that go?! This natural thing. Hahaha.
CHUCK: They never say to me, “Can you make it better? Make this curl look better.” They’re always saying, “Can you break it down?” And I’m like okay. It’s crazy!
KIM: I know exactly how you feel.
CHUCK: It makes me feel like the old man out. When I do the hair for a lot of these younger girls, they go, “I don’t want it to look like this and I’m like, “Oh god, am I the old man from the old 90s?!”
CHUCK: I always say, I gotta look at the hair and shake it, roll it around in the dirt and pop it up and go there it is, and she’ll love it. It’s gotta be ugly and weird. They want it to look brassy. We have to breathe this new generation, and act like I’m still young and cool and relevant. Because it’s a different age, the internet age.
KIM: It is. And I’ve noticed that. I miss the days of people wanting nice, polished, beautiful hair.
CHUCK: The 90’s was the pessimistic decade when it was about the non-use of products, and now those people are parents and they’ve brought up the kids of today’s age of “we don’t care” marries digital. So you get this ho-hum of weirdness and craziness that we never thought was coming to us in the glam area. That’s the biggest shift. Okay, I have a three-part question for you now: Being based in Los Angeles, how is the “Hollywood social life”? Are there a lot of two-faced people or a lot more bullshitting than the New York attitude? And also, how is the traffic and driving? I’m asking that because I would always love to do a career in LA, but I’m afraid and those three things are what scare me about LA.
KIM: Me being from Chicago, I come from a city where people are very real. I think there is some truth to what they say about LA. The traffic is tough, but I live close to everything. I stay in the city so I can get around pretty easily. I take the streets to wherever I need to go.
CHUCK: Oh okay, I love that!
KIM: I love LA, because I love the lifestyle. In, New York what you see is what you get—people are not phony and not fake and if you can make it there, you can make it anywhere. LA is a little more laid back, people are a little more relaxed. I call it the place where everyone has kale and smoothies and juice bars. I like the lifestyle of living healthy and that’s important to me. love the weather. I can go to the beach, I can go to Vegas. And if I just need to get to the winter month, I can drive out a couple hours and get to that, but I don’t wanna live in that.
CHUCK: Oh, I love LA.
KIM: Now, people are not as affected by celebrities here in Hollywood. The main thing is is that I can work here, people always come here. If you really wanna do fashion, New York is a great place for that. People are utilizing celebrity to build their brand. I have some more for you: Where do you find your inspiration? What’s your signature style? And I wanna recall about our first time meeting, which was on set with Brandy. Also, what’s your signature style?
CHUCK: My signature style is big, everything big. I want it huger than life!
KIM: Yasss, I love it!
CHUCK: When you walk in the room, you look at her hair, she’s got the biggest hair. I’ve always said I wanted to be the girl with the biggest cake from Courtney Love’s song—I wanna be the girl with the biggest cake, I want the basketball boyfriend, I want a big house, big car. I’m fancy, I’m fancy!
CHUCK: I get my creative thinking from everywhere. Every single thing can be hair. You can make a door out a hair. You can make a microwave out of hair. You can make anything you want out of hair. Anything can be hair and anything can add to the hair. But what really inspires me are those perky things, like a lady on the train, if her baby messes her hair up. Art doesn’t always have to be comfortable. The best art is uncomfortable to watch, and that’s inspiring.
And meeting for the first time on the set of Brandy was awesome! I didn’t realize you were the Kim Kimble from that set back in the day until later on, because there was a time when we missed each other. Then I was like, “Omg, you’re the Kim Kimble from the Brandy set!” And to think we met later on in life is really nice.
KIM: What I remember from that day on set with Brandy is I tried to make a braid bang piece, which I thought was the most genius thing ever. And you showed me how to make it! That’s my first memory of Chuckie.
CHUCK: Oh my god! I don’t even remember!
KIM: I remember though, I thought it was the most genius thing ever!
CHUCK: Alright, I love you to death.
KIM: Good to talk to you, Chuckie! Come see me soon.
CHUCK: I may be out there April 1st, but I’m not sure.
KIM: Please come by if you have time!
CHUCK: Totally! Okay, love you Kim.
KIM: Alright, okay love you, bye bye!