Musicians make a statement with wild manes, retro manes or no manes at all.
Despite the fact that she showed up at Armani’s fall 2007 show in Milan wearing what appeared to be fur-covered hair clips at the base of an otherwise-chic bob, Tina Turner is a rock chick who, let’s face it, knows how to work a wild mane (or, as some have whispered, a wild wig). The “Proud Mary” singer went from the structured beehive (Amy Winehouse, take note) to the flip to her now-signature lioness crown over the course of some 30-odd years, thus ushering in an era in which singers, rather than screen stars, set the (hair) style bar ever higher: Think Madonna as Marilyn, Sinead as monk, Cher as showgirl, Britney as junior high tart.
“Compared to Hollywood — and I’ve done a lot of Hollywood — musicians have the chance to really go beyond and give themselves an edgy look,” says JF Salon’s Julien Farel, who has tended to chanteuses from Jane Birkin and Carly Simon to Carla Bruni, pre-Sarkozy. (“She wanted to keep it long and very trendy on the top,” he says. “Really she just didn’t want to be boring.”)
Onstage, unlike on the red carpet, it would seem, bigger is often better, and color — well, pink picks up the strobe lights just that much better than brunette, doesn’t it? “Pink wanted to set herself apart, but she is that woman — that edgy, go-getter woman — so the color worked,” says stylist Danilo of the Mohawked, cerise-striped singer, with whom he’s collaborated on several shoots. Danilo is something of a rock ’n’ roll mane man, having worked with a list of divas three songbooks thick: Dolly Parton (“We did 17 looks for one shoot”), Cyndi Lauper (“She rocked the pink hair first!”), Courtney Love (“It was a long time ago, and she was kind of a mess”) and, most famously, Gwen Stefani, whom he met backstage at a Vivienne Westwood show in the Nineties. It was Danilo who gave Stefani that platinum architectural coiffure for the 2004 Golden Globes, as well as Joni Mitchell a sleek, center-parted look for her 2004 VH1 special.
Though Stefani hasn’t let motherhood turn her roots brown, the pack of Aqua Net-wielding songstresses, from Faith Hill and Shania Twain to Emmylou Harris and Miss Parton herself, aren’t taking to the stage as often anymore. Could Katy Perry and Goldfrapp be the next hair icons? Perhaps, but in order to get a little r-e-s-p-e-c-t, they’ll have to be willing to switch up their looks faster than a Beyoncé costume change. As the feathered, crimped, highlighted and teased (often all at once) Stevie Nicks once said: “I’ll never be in style, but I’ll always be different.”
“Azzedine has been one of the biggest influences in my life. He has always been such a strong, loving, fatherly figure to me. I call him Papa. His designs are indescribably unique, they are pieces of art. He knew how to make the female form look its loveliest. I have so many memories of him; my favorite might be during my first show with him in Paris. He liked me and he wanted to help me get more work. He called all his friends at Kenzo and Comme des Garcons, and asked them to book me. They said, ‘But she can’t walk!’ And he said, ‘but she has such a great ass!' His friendship and support has been the great privilege of my career. I can't imagine life without him. Repose en paix mon Papa.” - @stephanieseymour tells @wwd. #wwdfashion (📷: @steveeichner) #alaia #azzedinealaia
Azzedine Alaïa, flanked by two of his closest friends, models Stephanie Seymour and Naomi Campbell.
He designed Seymour’s dress for her 1995 wedding to Peter Brant, and treated Campbell (who famously called him Papa), like a daughter. For more on the legendary designer, tap the link in bio. #wwdfashion #alaia #azzedinealaia
Azzedine Alaïa's “I-did-it-my-way” ethos stood out starkly at a time when brands are experimenting with consumer-facing fashion shows, coed formats and trans-seasonal collections – anything to perk up lackluster sales of ready-to-wear in an age of Insta-everything. “It’s not creation anymore. This becomes a purely industrial approach,” the late designer told WWD in an interview last year. “But anyway, the rhythm of collections is so stupid. It’s unsustainable. There are too many collections.” Read more about the iconic designer’s life and work on wwd.com, link in bio. #wwdfashion #azzedinealaia (📷: @WWD Archive, 1986) #alaia
Sneaker reselling app @goat’s latest exhibit, "The Greatest: New York," tells the story of New York's sneaker culture. To celebrate the exhibit, an intimate crowd gathered on Thursday night at the pop-up gallery space, located at Platform in Culver City, to hear guest speaker and illustrator @esymai talk about her own rise in streetwear and women in the business. "For me I'm just someone who is creative. I like to create things," said Chang. #wwdfashion
Azzedine Alaïa, one of the most iconic couturiers of the modern era whose body-con designs defined Eighties fashion, has died in Paris. The diminutive Tunisian-born designer, known for his structured knitted dresses with fitted waists and impeccably cut, figure-hugging second skin silhouettes was deeply admired by his peers, and counted supermodel Naomi Campbell - his adoptive daughter - among his inner circle, one of a gang of glamazons including Farida Khelfa, Carla Bruni and Stephanie Seymour who became ambassadors of his style. (📷: Alexandre Guirkinger) #wwdblast