You don’t need a convertible to pull off the effortlessly glam look of a headscarf…and you certainly don’t have to drive it off a cliff.
All glib introductions aside, the only thing you need to achieve the timeless, summery style of a Susan Sarandon, a Sophia Loren, a Marilyn Monroe, or even an Audrey Hepburn, is a good scarf.
Obviously, the beauty of the scarf as accessory is its versatility. Whether long and rectangular or tiny and square, there are always at least a dozen ways to style a good swatch of silk or satin. In the past two years or so, you’ve probably noticed that the ascot look has made its way back into the mainstream as a cutesy way to incorporate a pop of color into an otherwise neutral capsule wardrobe— and we’re here for it. But today, we’re paying specific homage to headscarf styles, which can be both practical (keeping hair out of your face, keeping a low profile among the paparazzi…depends on the day) and stylish.
Even before Louise (Sarandon) steps foot into the iconic ‘66 Thunderbird, she’s sporting a classic scarf-and-shades look as if to channel the feminine agency of Audrey Hepburn as intrigue-embroiled Reggie Lampert in Charade (Hitchcock, 1963). The elegance of the scarf’s initially polished, powerful look speaks to the hopeful beginnings of the road trip. However, as the plot of Thelma & Louise (Scott, 1991) transitions, so does the scarf. By the end of the film, a hardened Louise has ditched her white collar for a grimy tank top, scarf around her neck like a bandit.
For my little photoshoot, though, I kept the hopeful Louise in mind. With three very different vintage scarves recently handed down from my grandmother (now for sale on the BadAstaVintage Etsy shop), my goal was to demonstrate their vibrance and adaptability. I donned my go-to, rust colored jumpsuit and did my best to create a retro-looking hairdo with my extra-long locks. And of course, I went for a classic cat-eye with some smokey smudges from my NAKED palette. Finally, I completed the look with a slick mauve lip available at any drugstore near you.
The longer scarves were pretty easy to toss into something like Louise or Reggie would have worn; but for the square scarf, I pulled some more Mediterranean inspiration from Sophia Loren in films like Sunflower (De Sica, 1970) or the silly summer flick, Houseboat (Shavelson, 1958). Marilyn Monroe can also be found rocking a bandana now and then, though I think the yellow silk and purple flowers add a fun, elevated look to this rustic essential.
The Devil's in the (Styling) Details:
Jumpsuit: Lovestitch from Nordstrom’s Rack // Eyes: Expert Liquid Liner in Black from e.l.f. (Cruelty Free) Cosmetics, Urban Decay “Ultimate Basics” palette // Lips: Rimmel Stay Matte Liquid Lip Colour in “Urban Affair”
Asta is the fictional pup of The Thin Man, a 1934 detective novel written by hard-boiled genius Dashiell Hammet, adapted as a film by the same name in the same year starring William Powel and Myrna Loy as Nick & Nora, Asta’s wise-cracking, case-cracking owners.
Bad Asta, on the other hand is the brain-child of Kate Dawson and Nicole Horowitz, two vintage thrifters with a shared love for film. Our Vintage Brand is founded on principles of aesthetics and sustainability, with a little dose of old-timey fun along the way.
Kate and Nicole
Purveyors of Pastiche
Nicole Horowitz & Kate Dawson are the “purveyors of pastiche” behind Bad Asta Vintage. Hailing from LA and Philly, respectively, the two met at Oregon State University while pursuing MA degrees, and quickly bonded over a mutual love of classic film. Their bi-coastal journey into the marriage of film and fashion is Bad Asta's raison d'être. We hope you'll come along for the ride.