In W Magazine’s June issue fashion editorials never fail to favor hairstyles with maximum dramatic impact. For fall, it’s all about frizz, naturally occurring or otherwise. Brush, tease, spray. Courtesy of W Magazine The hair, not the clothes, took the starring role at the Marc Jacobs Fall 2009 show. Inspired by looks sported by regulars at downtown New York nightclub Danceteria in the ‘80s, it was all about big hair, whether swept up into a bouffant or curled into a mushroom cap, embracing both the best of naturally and artificially enhanced hair. Kristian Dowling / Getty Images; Seth Wenig / AP Photo Betsey Johnson hasn’t altered her own quirky mane in years, a tantalizing concoction of piecey straight locks, braids, and bleach-blonde frizz. So she knows that nothing goes better with her tarty clothes than that just-got-out-of-or-into-bed look of mussed hair and flushed cheeks. Scott Wintrow / Getty Images for IMG (2) If Diesel’s onto it, you know the kids won’t be far behind. It’s time for a metal makeover of teased hair, courtesy pf a can of Aqua Net and a pocket comb. Scott Gries / Getty Images for IMG (3) Robert Altman’s Nashville did not shy away from the kind of bold and beautiful big hair you’d expect, no, demand country singers sport. While most of the women in the film had the rolled and teased Valley of the Dolls hair of the late ‘60s, Shelley Duvall’s hippie harlot character, L.A. Joan, did what straight-haired girls do when they seek transformation: She donned a ‘fro wig for hitching rides on the backs of motorcycles or watching sideshow magic tricks performed in Nashville nightclubs. A car wash is about the only place to go if you’re seeking enough humidity to hold curl in your hair in L.A. A car wash in 1970s L.A., specifically. Joel Schumacher’s camp classic Car Wash gives us Lauren Jones’ Marlene the hooker as one frizz icon to emulate—straight bangs and curly Afro the color of pink Champagne—while thirtyomething’s Melanie Mayron’s early role as Marsha the counter girl makes a case for a fuzzy flip. Everett Oh, Carol Kane, you with your big, deep-set eyes, cherubic long locks, and perfect ponytail giving backstage votes of confidence to Woody Allen in Annie Hall. Curly hair embodies all things earnest, youthful and sincere, in this movie, at least. Thick bangs and fiery tresses remained Kate Bush’s signature throughout the ‘70s and ‘80s, her hair embodying a dash of Miss Havisham-like eccentricity enhanced by the soft glow of backlit music-video effects. AP Photo It’s hard to decide what we like better about Vonetta McGee’s look in Repo Man, her can’t-be-bothered repo woman halo of hair or the beige draped neckline and puffy sleeves of her heist-ready dress. There is always a fine line between matronly and effortlessly sexy when it comes to curly hair. Andie MacDowell straddles this divide in Steven Soderbergh’s Sex, Lies and Videotape, her curls alternately pulled back and prudish, and casually tussled and toothsome. Laura San Giacomo’s character, on the other hand, always looks like she’s just been lifted off of a pillow. Miramax / Everett Lorraine Bracco’s hair in Goodfellas is emblematic of the sort of unapologetic curls women spent years trying to straighten in the ‘90s. No more! Warner Bros / Everett Coiffed and flipped in the ‘60s with The Supremes, Diana Ross eventually realized that au natural was a more diva-worthy look. The bigger the hair, the bigger the star. Ian West / AP Photo If anyone thought that a prerequisite to work and hold influence in the offices of Vogue was straight, blonde hair, then perhaps one should have a look at long-time creative director Grace Coddington’s chic shock of red.