The blond and smooth bob it was her beauty signature par excellence. Of those stainless, almost identifying, and above all resistant to everything: to changes in fashion, trends, eras, evolutions in style.
Thinking about it, it is difficult, if not impossible, to unglue the image of Raffaella Carrà from that iconic cut, always the same yet always different, which made it recognizable all over the world. Imitated, emulated, reproduced almost to exhaustion, that geometric yoke, sculpted on his head by Celeste Vergottini in the 1960s, it unexpectedly assumed a decisive role in the artist’s career and image.
Funny, if you think that blonde and smooth, the volcanic Raffaella didn’t even have a hair.
I had the curly hair complex. Then Vergottini arrived, cut them for me and ironed them. He saved me.
Raffaella, whose sad death the world is mourning today, boasted in fact a curly and dark hair of nature, but that Vergottini’s skilful skills turned into a successful lob, ready to dance to the rhythm of Dance Dance, flutter on the notes of Best wishes, to move sinuously at the pace of Tuca Tuca.
“If I think of that bob I don’t remember a haircut, a style that has survived so long in people’s memories” says Jill Vergottini in her book I highly recommend the fringe (Ed. Add). Softened over time on the lengths, shortened every now and then at jaw height or embellished if necessary by a full and symmetrical fringe, it didn’t matter. The minimal variations on the theme did not deprive Raffaella of the title of queen of the carrè. But above all of the inimitable lady of TV and the stage. Hi Raffaella.
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