Extreme Hair: Vogue Women Are Not Afraid…

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“On the eve of the ‘AngloMania’ opening [at the 2006 Costume Institute exhibition at the Metropolitan Museum of Art, New York], I took Linda Evangelista around the exhibition,” remembers curator Andrew Bolton. “Once we arrived at the end, she said, ‘Yes, very interesting, but the show’s really about the wigs, isn’t it?’”

— from Sarah Mower’s “The Magic Maker,” Vogue, March 2009

This quote, about the famed “couturier of hair” Julien d’Ys, struck me with the thought: hair is powerful. Hair communicates; its impact on our eyes is immediate. It can draw stares completely away from the body to the head. The latest fashions, and an individual’s character and attitude, are made complete, even enhanced, with an ideal head of hair.

But what is ideal? In the case of extreme beauty, it is eccentric styles, over-the-top hairdos, extraordinary colors, and radical lengths – set and styled by the creative genius of hairdressers. And, in that grand tradition of hairdressing, a profession dating back to the times of Marie Antoinette, men such as Guillaume and Charles of the Ritz (during the 1950s), Kenneth or Vidal Sassoon (in the 1960s), to today’s Julien d’Ys, Didier Malige, Christiaan, and Orlando Pita, have been creating outrageous do’s for the pages of Vogue, W, Glamour, Mademoiselle, and others.

This first selection of photographs is organized by theme rather than chronologically: The Bob, or the Boy; The Ball; Fluff, Frizz, and Pyramid; The Long and Tall; and Technicolor. Regardless of the period from which it derives, each hairstyle was especially designed to do more than just turn heads and stop traffic. Each proves that Vogue women – sophisticated, smart, stylish (and mostly moneyed) – have not been, are not, and will not be afraid of daring hair.

The Bob, or the Boy

Portrait of milliner Madame Agnès, photographed by Edward Steichen in the October 1, 1925 Vogue

The legendary dancer Irene Castle is usually credited with introducing the bob to American audiences, and her wide exposure, including regular features in Vanity Fair, helped spread the look. The short, cropped hairstyle was a shocking departure from all the complicated coiffures of previous decades. Though it did not require wigs, toupees, rats, or puffs, the bob still demanded personalization. Vogue suggested that a woman choose a style of bobbed hair that complemented the shape of her face and head. The hairstyle was also perfect suited to the deep-crowned and tightly fitting cloche hats in fashion at the time.

Model Peggy Moffitt wearing minidress, photographed by Sal Traina for Women's Wear Daily

The bob resurfaced in the ‘60s with a renewed connection to youth, androgyny, and modernity. In England, Twiggy modeled a newly shorn hairdo and instantly became an object of emulation for hip young things. The look was boyish when combined with pants and pantsuits by famous French couturiers like Cardin and Courrèges, and more androgynous when worn with the geometric, plastic, and ultra-modern designs of Rudi Gernreich, whose favorite model, Peggy Moffitt, sported the “five-point” variation invented by Vidal Sassoon. Overall, the look broke with gender segregation by ending the decade with the idea of “unisex.”

By the 1980s, bobbed hair had taken on endless new shapes and designs. Cuts became exceedingly butch, with increasingly short sides, often shaved, and long tops, which were heightened and stiffened by hairsprays and gels. By brushing cropped hair up and away from the face, hairdos became less “bob” and more “boy.” Today, bobbed hair is a staple style, suited to every facial type, head shape, and individual personality.

Model wearing androgynous hairstyle, photographed by Arthur Elgort in the May 1, 1984 Vogue

The Ball

A woman’s head is round, more or less. At times, and as fashion predicts, that head swells into grand proportions. Is it her mind that has mushroomed, or is it a simple exaggeration of her crowning glory? Below are a few examples of ingenious coifs-in-the-round.

Marisa Mell wearing bouffant hair by Suga of Kenneth, photographed by Arthur Elgort in the March 15, 1968 Vogue

The 1950s introduced the bouffant look and required at least eight- to 10-inch-long hair. Very simply, the hair was teased with a comb to balloon out at the sides and then lacquered into place with a cloud of hairspray. Since women could not fit hats on the new wider do, other hair accessories such as bows, ribbons, feathers, and jewels gained popularity. By the ’60s, bouffant hair had reached enormous, if not distorted, proportions. Teenagers complained about not being able to see the teacher from behind her beehive, and women were teased about not fitting through doors.

Actress Ann-Margret wearing a bouffant coif, photographed by Bert Stern in the June 1, 1971 Vogue

Model’s face wrapped with hair and tucked into a turquoise and diamond choker by Cartier

Actress Marsha Hunt wearing an Afro hairstyle, photographed by Patrick Lichfield in the January 1, 1969 Vogue

The Afro hairstyle emerged in the U.S. in the late 1960s and was worn by African-Americans as a way to express their ideas about politics and self-worth. African-American hair allowed to take its natural shape represented the civil rights movement, pride, and black power. No longer were hot combs or flat irons used to straighten springy strands, nor were chemicals used to perm, straighten, or relax hair. Some, of course, wore their Afros much bigger than most.

Another possible affirmation of the “black is beautiful” creed was a rejection of hair and hair care altogether. At the very least, a bald head proved to be one of the most extreme ways to wear one’s hair (or non-hair).

Bald model with houndstooth items from fall 2009 collections, photographed by Patricia Heal in the July 2009 W

Fluff, Frizz, and Pyramid

Model Veruschka curled up in swirls of hairpieces, photographed by Franco Rubartelli in the June 1, 1968 Vogue

It seems odd that excessively fluffy or frizzy hair would be considered desirable, especially given the natural looks at the end of the 20th century, as propagated by Kate Moss, or the “supermodel hair” worn by Cindy Crawford and Gisele Bündchen. The value lies in the time, effort, and expense spent on achieving the outrageous hairdo. To attain something frizzy enough to be called “extreme,” hours must be spent on preparation; hair must be permed or curled if it isn’t already, masterfully treated with a plethora of gels, mousses, lotions, and sprays, and brushed out into shape. The exact shape depends on the vision, artistry, and abilities of the hairdresser, whose expertise does not come without its cost.

Model wearing knotted up-do, with fly-aways framing her face, photographed by Patrick Demarchelier in the November 1, 1977 Vogue

Model wearing "pyramid" hairstyle, by Robert at Ricci Burns of London

The Long and Tall

The following images show some of the tallest coifs and most extreme lengths of hair, both natural and imitation, photographed for Vogue.

A 1937 portrait of the harpsichordist Wanda Landowska, photographed by Landshoff, published in the April 15, 1950 Vogue

Model wearing futuristic fashion by industrial designer Henry Dreyfuss, photographed by Anton Bruehl in the February 1, 1939 Vogue

Model sporting floor-length hairpiece, photographed by Bert Stern in the May 1, 1966 Vogue

American actress Candice Bergen donning coiffure by Kenneth, photographed by David Bailey in the August 1, 1967 Vogue

Women enjoyed the transformational effect of wearing long hair well before the first Vogue magazine appeared in 1892. At that time, long tresses were disguised in sweeping up-dos, such as the softly piled look of the Gibson Girl, and only let down at night. It would prove a very intimate moment (and possibly set certain emotions afire) for anyone to see a woman during this natural and vulnerable state. That association – between long hair and private moments – may have laid the groundwork for today;  now, when a woman grows her own hair to longer lengths, or counterfeits the look with hair extensions, she is likely to feel more feminine.

Models sitting on the beach wearing hair extensions, photographed by Arnaud de Rosnay in the January 15, 1968 Vogue

Model Twiggy wearing hair extensions by Helene Curtis, photographed by Justin de Villeneuve in the April 15, 1970 Vogue

Technicolor

Portrait of bleached-blond American actress Jean Harlow, unpublished photograph for Vanity Fair by George Hurrell

Blond is considered the quintessential female hair color and holds many meanings. The idea of a “bombshell” blonde carries sexual connotations, popularized by the looks of Hollywood stars like Jean Harlow, Jayne Mansfield, Mae West, and Marilyn Monroe. When a woman goes blond, she undergoes a transformation from ordinary to extraordinary. She becomes a beacon – a high-voltage, sexual creature.

Yet not all blondes are equal. A sunny blonde, or a brassy or strawberry blonde, carries a quite different meaning. In these instances, the woman conjures thoughts of friendliness, innocence, cheerfulness, and openness.

Model wearing strawberry-blond Dynel wig, by Halston for Abbott Tresses

Model sporting new hair tints, photographed by Clifford Coffin in the January 1, 1953 Vogue

Great improvements were made to the hair-coloring process in the 1950s. In February 1950, it was possible to bleach, shampoo, and permanently dye hair in one procedure. This was soon followed by an even simpler one-step process. The simplicity of coloring hair encouraged women to experiment more than ever. By 1964, though, hairpieces were all the rage and available in many lengths, colors, and textures, to use in elaborate dos. Vogue encouraged women to lay in hairpieces as never before, without shock or shame.

Model applying makeup in hand mirror, photographed by Karen Radkai in the April 1, 1958 Vogue

Cover model Windsor Elliott donning a bright green Dynel ponytail