After the long awaited release of Chappell Roan’s most recent single ‘The Subway’, we were subsequently gifted the accompanying music video. The behind the scenes footage and promotional images leading up to its release hinted at Chappell toying with the use of cascading red curly hair, reminiscent of her own. Aside from the connection to Chappell’s opening lyrics, this mesmerising visual is a reminder of the artist hair theory; you need a signature hair style in order to have a solidified pop star status. Think of Ariana Grande’s pony tail, Ice Spice’s ginger afro, Rihanna’s pixie and Billie Eilish’s green roots.
‘The Subway’ speaks to letting go of the memories of a past relationship, using Chappell’s hair as a visual aid of how those memories can weigh a person down and cling to you like a very unusual looking coat. Directed by Amber Grace Johnson, the music video follows a hair-coated Chappell chasing memories of her ex-lover around streets of New York City.
To create the ‘hair monsters’ and other hair centric looks for The Subway, Chappell collaborated with an international mix of talented designers and artists including: Charlie le Mindu, Lacy Redway, Connor O’Grady and Todd Thomas as well as long time stylist and creative director Genesis Webb.
The damsel in distress on the fire escape adorns a two piece made up entirely of human hair. Designed by the Australian designer Connor O’Grady, he stated to iD how this project was “a love letter to camp, couture and doing the absolute most” by channelling the upmost amount of theatrical glamour.
The next up and coming club you ask? Chappell Roan’s subway carriage car. What better outfit then a custom hair jacket and skirt made in collaboration by Todd Thomas and John Novotny. Novotny shared how the pieces were made up of thirty-five bundles of real human hair and two cut up wigs. They actually started off as a shade of honey blonde, and were then dyed into an auburn kaleidoscope in order to colour match with Chappell’s vibrant red.
The first of two suit looks, the surrealist oversized business suit designed by James Guyen appears to drown Chappell, similar to how a child would play dress up in their parent’s clothes. Wallowing in heartbreak, she innocently chases after a fleeting image of the one she loves only to be comically dragged along the streets by a yellow taxi.
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