In the literal sense, Charles Dawson wasn't a cartoonist. He would be classified as an illustrator or commercial artist for those who wish to spit hairs. But I am including Mr. Dawson & Don Anderson, because they created illustrations for a number of ads for cosmetic & beauty products during the early third of the 20th century.

Although at this point in my research, I haven't found any biographical information for Charles Dawson, I have found an enormous wealth of art he has created for companies like PORO Beauty School, Murray, Madam C.J. Walker & Overton pomade products (You know that stuff Black men used to slick down hair. Ask Grandpa about the 'process' . Sort of a pre-historic & much dryer jheri-curl.) . His specialty seems to be hair ads. So I guess this would also qualify him as a Fashion Illustrator also.

What I found unique about Charles Dawson's illustrations among others in the 1920s & 30s (compared to Don Anderson for instance) is that the people in his drawings reflected a more natural appearance of African Americans with pronounced African features as opposed to stylized European features (aquiline noses, thin lips & eyebrows) as the ideal of beauty. Something some Black artists still have yet to fully embrace today ! It was refreshing to see someone pioneering the representation of Afrocentric beauty in a time where it was actively discouraged even in the Black community that idolized lighter skin and non-kinky hair.

This ad fro Murray's Hair Dressing Pomade appears in July of 1926.

An advertisement for Aida Hair pomade. One of the cosmetic products put out by the Overton Hygienic Company. The Chicago based Overton Hygienic Company was owned by Chicago entrepreneur, Anthony Overton who among many business ventures also published the Chicago Bee Weekly newspaper as well as having large stake in the (Fredrick) Douglass National Bank & the Liberty Life Insurance Co.

Notice the distinct African features of the woman's face for the year 1943.

Another Aida Pomade ad from late 1943. I especially appreciate the lack of references to 'good' or 'bad' hair. It simply claims to 'Make the hair beautiful and keeps it in desired position in warmest weather'. In spite of the slicked down hair of the man in the back, which was the popular style of the day, it makes no comment about this being something better or more desirable than the natural state of hair, as so often presented the Murray Pomade ads by Murray Superior Products Co.

This 1945 ad illustrated by Mr. Dawson for PORO Beauty school caught my attention because it's doing something yet never seen in hair ads of this era of equating 'good' & desirable hair in terms of European straightness. It is glorifying African hair styles.

The text along the lower right reads:
The Story of Hair Culture's Development

History records the African Peoples to be the most exotic and artistic hair dressers of all civilization. Very early in life our Annie M. Turnbo-Malone felt, intuitively and inherently, the urge to continue this tradition of beautifying the hair and she symbolizes the link between the arts and sciences lost to us.

Dr. Melville J. Horskovits, Professor of Anthropology, Northwestern University, Chicago, in his book entitled, "The Myth of the Negro Past," says: "The Most Popular System of the Hair Treatment used by Negroes is named 'PORO' presumably after a Sierra Leone (African) secret society of that name."

Forty-five years ago, (1900 - 1945 this was) Mrs. Malone was the first to recognize and translate this glorious heritage into today's system of Beauty Culture and Beauty Preparations known throughout the world as PORO.

The citizens' Committee deem it fitting and appropriate, that in appreciation of Mrs. Malone's great contribution, PORO dealers, agents, supporters and well wishers join in making this a truly great occasion - the 45th Anniversary Celebration.

The images drawn by Mr. Dawson on the lower left show various hairstyles apparently indigenous to different African nations, such as (top) Guinea, Ancient Ethiopia-Egypt, Somali-Ethiopia. (2nd row) Mangbe Tou, Cannot read right side, Central (Africa) Tuareg (North) and lower right, Zulu. Along the left side reads: African Hair Dresses. In the center is a large, smiling image of an African American woman with a very styled head of hair. Unlike many other images of beauty of this period, this one doesn't show the 'fair' skinned Black woman with hair flowing down her back, & men smiling approvingly at her for this accomplishment. It was refreshing to see African pride demonstrated by a product, or in this case a beauty school before the 1960s.

This page is still under construction as I continue to research more information about the artist himself. In the meantime, I thought it was important that you know of him all the same.

Please come back sometime & see the additions all over the Pioneer site.