A Century of Hairstyles
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Nothing defines a person like their hairstyle - and what a century it has been for hair! Bangs, bobs, buns, beehives and bouffants have vied with pixie cuts, pin curls, perms and pageboys for ascendancy in an ever-changing parade of ladies' looks and trends, and among the men we've seen Caesers, comb overs, ducktails, faux hawks, flattops, quiffs and slick backs. From the Edwardian era through the seismic changes of the '20s and '60s, and including every quirky twist hair history took on its way to the turn of the millennium, this book is a lush visual survey of a hundred years of hair styles and the great stylists of the century including Jackie Kennedy's stylist Mr. Kenneth and innovators like Vidal Sassoon.
endless spin-off products and tie-ins, just as in the heyday of Hollywood. There were in fact three ‘Angels’, but it was Farrah – and her hair – that people noticed. She would go on to appear in films and to act off-Broadway – but she could never escape the part with which she was identified. More accurately, she could never escape identification with her Seventies hairdo, a fact to which she alluded sadly for the rest of her life. Punk and Mohawks circa 1980–2 As the optimism of the
as famous for his various haircuts as his dead ball skills. Some saw him at first as a fashion victim, particularly given his famous sighting in a sarong. But undeterred, Beckham experimented with a new style every few months and each one found its followers. He had floppy ‘curtains’ around his face reminiscent of Rupert Brooke, gelled locks that recalled Valentino, an aggressively shaved skinhead crop, a mullet, cornrow plaits, and various hair bands that came and went. Beckham changed the
long black evening gloves – became part of cinematic history. Here, however, she is still posed as a beautiful version of everygirl, and shows us a hairstyle that young women everywhere might copy with the help of hairpins and their trusty curlers. Hayworth was also notoriously experimental when it came to hair colour, dying her dark brown hair red to become famous – and disguise her Mexican ancestry. She even became a blonde for husband Orson Welles’ film, The Lady from Shanghai (1947).
self-directed ‘makeover’ is her visit to the hairdresser. She persuades the young man to crop her long locks, and her trademark style was born. Audrey kept this cut, short over the ears and with a heavy fringe for the subsequent films, which saw her dressed by Givenchy. On screen, however, she was also seen in outfits that appealed to her young female followers – black Capri pants, turtleneck tops and ballet pumps. These simple staples were part of her own personal wardrobe – and distinguished
1967. Just a year previously her career was launched when he cropped her hair at the behest of her boyfriend and manager Justin de Villeneuve. She was then made the subject of a feature in the Daily Mail newspaper and the bookings began. Here, a year later, Leonard has modified his original cut with a couple of nods to the past. The waved sides recall the kiss curls of the Twenties, while at the nape of her neck we see what is surely a reference to the ‘duck’s arse’ of the Fifties. Retro styling