The head scarf is not just a fashion accessory: it is a symbol laden with meaning, capable of crossing eras and subcultures, adapting and transforming over time. From style complement to emblem of rebellion, freedom and fluid identity, the headscarf tells stories of change and creativity. The Dov’è Liana, a French musical trio who chose-or perhaps not-to bring it back into vogue, have made it a distinctive element of their aesthetic. Thanks to them, this symbol returns to represent a generation in search of authenticity and freedom. Let’s find out more.
Cultural revolution of the headscarf
The headscarf is is undoubtedly linked to the elegance of the 20th century, when icons such as Audrey Hepburn, Grace Kelly and Jacqueline Kennedy Onassis consecrated it as a symbol of style. Audrey Hepburn wore it naturally, making it one of her hallmarks on the silver screen. Grace Kelly, in a now legendary anecdote, even used it to immobilize her injured arm, creating an iconic image. Jacqueline Kennedy paired it with large sunglasses, helping to solidify its aura of glamour. Fashion houses such as Hermès, Gucci, and Pucci made it a must-have haute couture accessory. Yet its origins are more humble.
Before becoming a symbol of elegance, the headscarf was an ally of the mondine in the rice fields: a practical object used to protect themselves from the sun. From the rice fields to the collective imagination of the twentieth century, this accessory has been able to adapt to fashions and cultural movements, transforming itself into a sign of belonging.
With the advent of subcultures, the headscarf became a powerful communication tool. In the 1950s and 1960s, beatniks and hippies adopted it to challenge social norms, making it a symbol of independence and rebellion. In the 1980s and 1990s, it was reinterpreted by punks and the LGBTQ+ community, who turned it into a manifesto of fluid identity and sexual freedom.
The scarf according to Dov’è Liana
We come to today with Dov’è Liana, a French trio that mixes Italian disco, house, rock, and electronica. If you attend one of their concerts, you will immediately notice one thing: almost everyone wears a headscarf. But let’s take a step back before we understand why.
Dov’è Liana are conquering Italy thanks to their songs with Italian lyrics, singer with a funny French accent, but not only that. Their sound, which recalls the expressive freedom of subcultures, manages to make almost everyone fall in love. Emblematic is their debut song Perché Piangi Palermo and their first album Love 679. From then on, their concerts turn into spaces of collective euphoria, where all judgment stays out the door.
Not only music but also and above all collective belonging, symbolized strictly by our accessory, the headscarf. By now a key element of Dov’è Liana’s aesthetic, it becomes an evocative element of both Mediterranean atmospheres and gender-fluid aesthetics. Thus, this simple piece of cloth becomes a sign of belonging to a free universe, where past and future merge in a continuous celebration. Not just a style detail, but a bridge between historical subcultures-from the bohemian movements to the queer 1980s – and the present, with its demand for inclusive and shared spaces.
Wearing a scarf to the Dov’è Liana concert becomes a spontaneous gesture, a way to pay homage to the trio and feel part of a community united by music and free expression. As they say, “L’importante è ballare, ridere e fare l’amore” and maybe, wear a scarf.
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