Goldie Hawn’s 1970s Hedging: How Her Iconic Aesthetic Was Secretly Inspired by The Tudor Era
Goldie Hawn’s 1970s Hedging: How Her Iconic Aesthetic Was Secretly Inspired by The Tudor Era
When we think of Goldie Hawn in the 1970s, the image that immediately springs to mind is one of effervescent joy, blonde "shag" layers, and a bohemian spirit that defined a generation. However, fashion historians and trend analysts are increasingly looking back at Hawn’s iconic "hedging"—both in her voluminous hairstyle and her architectural fashion choices—and finding a surprising muse: the Tudor Era. While the 1970s are often synonymous with disco and bell-bottoms, a significant subset of the era's high fashion was deeply rooted in the structured romanticism of the 16th century. This article explores the fascinating intersection between the "It-Girl" of the 70s and the courtly aesthetics of the House of Tudor.
The Concept of "Hedging" in 1970s Beauty and Fashion
In the context of 1970s style, "hedging" refers to the deliberate layering and structural framing of a silhouette. For Goldie Hawn, this was most evident in her hair—a revolutionary "hedge" of blonde layers that framed her face with precision while maintaining an air of effortless chaos. This look wasn't just a random cut; it was a calculated play on volume and proportion that mirrors the way Tudor royalty used ruffs and structured collars to "hedge" the face, drawing the viewer's eye directly to the features.
During the 1970s, designers like Bill Gibb and Thea Porter were obsessed with historical revivalism. They looked past the Victorian era and dove straight into the Renaissance and Tudor periods. Goldie Hawn, often styled in flowing gowns with high, ruffled necklines and ballooning sleeves, became the accidental poster child for this "Neo-Tudor" movement. The "hedging" effect created a halo of soft power—a look that was simultaneously vulnerable and commanding, much like the portraits of Anne Boleyn or Elizabeth I.
The Tudor Influence: Structured Romance and Courtly Volume
The Tudor era (1485–1603) was defined by its rigid yet decorative approach to fashion. It was an era of heavy velvets, intricate embroidery, and, most importantly, the manipulation of the human form through structure. The 1970s took these elements and softened them for the modern woman. Where a Tudor queen might use a wire-frame "farthingale" to shape her skirt, the 1970s used layers of chiffon and silk to create a "hedge" of fabric that moved with the body.
Goldie Hawn’s wardrobe during her *Laugh-In* days and her subsequent film career often featured these "hedged" elements. Think of the high-waisted silhouettes, the empire lines that mimicked early Tudor gowns, and the delicate lace "partlets" that were reimagined as sheer 70s blouses. The connection is undeniable: the 1970s was a decade searching for a new identity, and it found it by looking back at the strength and theatricality of the Tudor court.
| Feature/Aspect | Tudor Era Inspiration (16th Century) | Goldie Hawn’s 1970s Interpretation |
|---|---|---|
| Hairstyle (The "Hedge") | Structured hoods and curls used to frame the face as a focal point. | The layered "shag" cut that created a halo-like frame of volume around the face. |
| Necklines | Stiffened ruffs and high lace collars (partlets). | Softened ruffles, "pussy-bow" blouses, and high-neck Victorian-style dresses. |
| Sleeve Architecture | Puffed shoulders and slashed sleeves showing contrasting fabric. | Bishop sleeves and balloon sleeves that tapered at the wrist, creating volume. |
| Fabric Choices | Heavy velvet, brocade, and gold-thread embroidery. | Crushed velvet, intricate floral prints, and metallic Lurex threads. |
| Silhouette Philosophy | The use of structural supports to "hedge" or enclose the female form. | Layering of sheer fabrics to create a "soft hedge" or tiered bohemian silhouette. |
Decoding the "Shag": The Hair as a Historical Frame
Goldie Hawn’s hair was perhaps her most influential "hedging" tool. In the 1500s, the "French Hood" or "Gable Hood" served to frame the face, often showing just a hint of parted hair. In the 1970s, Hawn’s stylist (the legendary Paul McGregor) created a haircut that did the exact same thing but with the hair itself. The short, choppy layers on top acted as the "hood," while the longer layers beneath provided the structural support. This "hedging" of the face emphasized Hawn’s large, expressive eyes—a trait she shared with the stylized portraits of the Tudor period.
This look represented a break from the rigid "beehives" of the 1960s. Much like the transition from the stiff Middle Ages to the more expressive Renaissance, the 70s "hedge" was about natural movement within a structured framework. It was the "messy" version of royal poise, making the look accessible to the modern woman while retaining a sense of aristocratic "otherness."
The "New Romantic" Movement: Why the 70s Loved the Tudors
To understand why Goldie Hawn’s look worked so well, we must look at the broader cultural trend of the 1970s known as the "New Romantic" precursor or the "Peasant" look. This wasn't about being poor; it was about the idealized, pastoral romance of the past. The Tudors were the ultimate source of this inspiration because their era was the last great age of individual craftsmanship before the industrial revolution.
Hawn frequently appeared in "prairie dresses" which were essentially simplified versions of Tudor kirtles. The use of smocking, lace inserts, and square necklines directly referenced the garments worn by the ladies-in-waiting at the courts of Henry VIII. By adopting these styles, Goldie Hawn bridged the gap between the radical freedom of the 1970s and the traditional elegance of the 16th century.
Modern Impact: The Return of Tudor-Inspired "Hedging"
In today's fashion landscape, we are seeing a massive resurgence of the Hawn-Tudor aesthetic. From the "Wolf Cut" (a direct descendant of Goldie’s 70s shag) to the popularity of brands like Vampire’s Wife and Zimmermann, the "hedged" look is back. Fashion influencers are once again embracing the high necklines and voluminous sleeves that Goldie made famous half a century ago.
The reason this style persists is its ability to balance power and femininity. The Tudor era was a time of formidable female monarchs, and the 1970s was a time of burgeoning female liberation. Goldie Hawn’s style—a mixture of "soft" Tudor ruffles and "hard" structured layers—perfectly encapsulated the desire to be seen as both beautiful and intellectually present. It is a "hedging" of the soul as much as it is of the wardrobe.
Conclusion
Goldie Hawn remains an undisputed icon of 1970s style, but her legacy is far more complex than just "bohemian chic." By examining the "hedging" in her aesthetic, we uncover a rich tapestry of historical inspiration that reaches back to the Tudor courts. Her ability to take the rigid, formal elements of the 16th century and translate them into the free-spirited language of the 1970s is a testament to her status as a fashion pioneer. Whether it was the architectural framing of her hair or the regal volume of her gowns, Goldie Hawn proved that the past is never truly gone—it is simply waiting to be "hedged" into something new.
Frequently Asked Questions (FAQ)
In this context, hedging refers to the structural layering of hair and clothing that frames the face and body. It creates a "boundary" of volume—much like a garden hedge—that emphasizes specific features like the eyes or the waist.
The 1970s saw a "historical revival" where designers used Tudor elements like high ruffed collars, bishop sleeves, heavy velvet fabrics, and square necklines to create a romanticized, "New Romantic" aesthetic.
The look is trending because of the modern obsession with vintage silhouettes and the "Wolf Cut" hairstyle, which is a modern iteration of Goldie’s iconic 1970s layered "shag" haircut. It combines nostalgia with a powerful, feminine silhouette.
Key designers included Bill Gibb, Thea Porter, and Laura Ashley, all of whom incorporated historical elements, lace, and medieval/Tudor structures into their mainstream 1970s collections.
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