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Turner’s blonde and barbed wigs were an exaggeration of a decade already defined by over-thetop hair, the better to pair with the era’s heavy, sculpted makeup and oversized suiting. “Tina’s hair took the idea and turned it up to 11,” says Gibson. “The fact it’s so removed from traditional ideas of femininity gave it edge and marked Tina out as a true individual who isn’t afraid to challenge stereotypes.” Gibson and Turner also note the movement that the wigs brought to the stage, an amplification of Turner’s own energy and kineticism.
She described the runway, which she watched from the front row, as an “emotional” experience. “The inspiration that was taken from Mexican culture that was honored, just really seeing that play out in the show was really beautiful with all the hairstyles, the faces of the women and the diversity of the models,” Keys says. “I thought that was really powerful.” The star’s favorite part was the impactful statement made during the finale, when Chiuri showcased white dresses with red embroidery that called attention to missing or murdered Indigenous women. “The statement at the end of the show that Maria Grazia made with the women in white, I thought that was tremendous,” says Keys. “To learn and to discover more about how many Mexican women go
missing. . . and to create a special moment in the show for that, was really powerful. It shows the way that we can combine art, fashion, and activism to open people’s minds to what’s happening.”
Though the final decades of her life saw a quieting of her more exuberant hair looks, Turner will forever remain something of a phoenix, a woman who rose from the turmoil with the kind of fire born of faith and offered embodiment through beauty. “If you are unhappy with anything your mother, your father, your husband, your wife, your job, your boss, your car whatever is bringing you down, get rid of it,” wrote Turner. “Because you’ll find when you’re free, your true creativity, your true self comes out.”
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