The hair was high, and the mood—from stage to the rafters—was higher.
disco beat can subtly ricochet through the brain. This wasn’t just surface flash—and there was plenty of that, from metallic eye shadows to lustrous jumpsuits. It was an energetic pulse.
Long before the rapper-musician Doja Cat made a runway cameo with her mile-long Pepto-pink ponytail, and long before a gospel choir shook the risers with a song set spanning Tina Turner’s 1971 “Rolling on the River” and Adina Howard’s 1995 “Freak Like Me,” the influence of music was already shaping things backstage.
But if Tharpe influenced postwar sound, Sallstrom leaned heavily on the glittering ’70s for makeup inspiration. “Because it’s only black models, we’re using a lot of metallics, so it really bounces light and shows off [the skin],” he said, describing the monochromatic color schemes that he was working with: burnished gold, sheered-out red, cobalt blue.
Over in the bustling room next door, hairstylist Jon Reyman was tossing out his own set of icons—Chuck Berry, Jimi Hendrix, Little Richard—as he oversaw a variety of looks. Wig stands held voluminous coils; models’ natural locs and Afros were being subtly finessed. One slim-hipped model had his fine curls blown straight with a Dyson hair dryer , while braided cornrows were hand-sewn with cowrie shells and gold beads, in a result that begged a regal Kwame Braithwaite portrait.
Hours later, set against the choral arrangements and more than a few audience members singing along, that full-tilt beauty met its sonic match: in a red two-piece decorated with a mini keyboard, and a gold jumpsuit embroidered with mini guitars.
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