Trust Gucci’s creative force, designer Alessandro Michele, to shake the fashion set out of its complacent slumber by showcasing an exquisite array of absolutely drool-worthy headgear. The game-changing creative head of the hallowed Italian luxury house turned the spotlight on the turban this season, by reinterpreting it in a no-holds-barred-glamazon format. The label’s Fall 2018 showcase in Milan saw a panoply of babushka hoods, pagoda hats and headscarves, that brought to mind exotic visions of the elegant hijabs and naqabs.
The fashion maverick Michele has dramatically changed the way we perceive accessories. A nifty headpiece can make or break an ensemble, and I’m totally digging the label’s multi-hued, bejewelled headpiece which is a reinvention of the ‘bandanna’ headband.
Over the years, I have thoroughly enjoyed wearing Michele’s accessories and ensembles, and his glittery and bold headdresses are my absolute favourite. Depending on my mood and the occasion, I have teamed my Gucci turbans with both, minimal and maximalist ensembles. Being a fan of the statement-making headpieces, I have often worn his bejewelled headbands as an alternative to a turban.
Donatella Versace at the Gianni Versace ‘Tribute Collection’ in Milano, sent out his signature butterfly print turbans and Baroque print head scarves, worn with wrap dresses, bodysuits and matching accessories – all epitomising the house’s intrinsic Va Va Vroom.
The headdress has evolved over the years, with the early 20th century witnessing a major revival of the fashion turban, this time, worn mostly by elite women as a symbol of their cultivated sophistication. These headdresses always evoked a sense of exotica with their draped styles, and were often dubbed as ‘Easterninfluenced headpieces.’ In Europe, the iconic designer Paul Poiret was majorly impacted by Orientalism, whose take on the accessory conjured images of a fabled harem.
The turban pioneer is said to be credited for having revived the headpiece in the early 1900s. While in the ’20s, it had an exuberant flapper connotation, in the ’30s and ’40s, the headdress became a synonym for unabashed Hollywood glamour. Who could forget Greta Garbo in The Painted Veil (1934) and Lana Turner in The Postman Always Rings Twice (1946)?
After many years, model Marisa Berenson approached the turban with a relaxed and louche glam touch of the swinging ’70s. When Yves Saint Laurent worked in post-war France, he added headdresses to complement most of his looks suiting all occasions – be it haute couture or ready-to-wear. A pleated lamé turban ornamented with a sequined palm leaf created by Nina Wood, worn with an Indian inspired evening outfit from YSL’s Spring/Summer 1982 haute couture collection, remains one of the memorable looks.
In recent times, a slew of fashion films and chick-flick TV series have reignited the season-less appeal of the turban. In 2010, Carrie Bradshaw, essayed by Sarah Jessica Parker, elevated the headdress to another level of exotica as she played out her life with her girl pals against the stunning backdrop of Abu Dhabi in the film Sex and the City 2. Fashion industry heavyweights like Miuccia Prada, Jason Wu, Vena Cava and Giorgio Armani have re-purposed the turban, making it relevant for the young women of today, season after season.
Also worth mentioning is Jean Paul Gaultier’s sari collection for Hermes in 2011, which he accessorised with jewel-toned headpieces. In Bollywood, veteran actress Rekha has been the biggest proponent of this chic essential for years now. Teaming it with her ‘more is more’ ensemble, she has time and again, worn the turban with effortless elan and her characteristic nonchalance, bringing to mind her larger-than-life on-screen persona of her ‘80s Bollywood films.
This ‘of-the-moment’ interpretation of the classic turbans ushers in a new wave of exotic glamour in a scenario of austere runway presentations and a pall of gloom lurking on luxury retail. When the going gets tough, the fashionable get bold, and a turban addition to any ensemble adds that touch of chic femininity and a ‘look-at-me’ sass, unrivalled by any other accessory or jewellery.
Sheetal Mafatlal writes an exclusive monthly column on fashion for CineBlitz.