Her prostitute garb in “The Owl and the Pussycat” (1970) might not have withstood the test of time, but Streisand’s hair in this film is very Thom Browne Spring 2017.
The eyeliner and beehive that illustrate Fanny Brice’s strong resolve at the end of “Funny Girl” (1968) were also Streisand off-camera signatures in the late Sixties.
Hairstylist Fredrick Glaser channeled Veruschka with this elaborate up do in “On a Clear Day You Can See Forever” (1970).
Streisand’s character Judy Maxwell in “What’s Up, Doc?” (1972) was supposed to be a goofball, but those Long ‘n Silky locks in this film confirmed her sex symbol status.
“Your hair. You’ve done something different with it,” Robert Redford’s character Hubbell Gardner explains when he reconnects with Streisand’s Katie Morosky in “The Way We Were” (1973). Her reply: “I have it ironed” seemed so exotic at the time, as it was decades before flat irons hit the scene.
Hairdresser-cum-producer Jon Peters was Streisand’s main man by the time filming began for “A Star is Born” (1976), which might have something to do with the full head of rocker-chick curls.
Streisand wore her sexy curls somewhat longer and looser in "The Main Event” (1979) to lure Ryan O”Neal. Hmmm, perhaps it should have been called “The Mane Event.”
Mandy Patinkin says goodbye to a short-haired Barbra Streisand in a scene in the movie "Yentl" circa 1983.
The '90s weren't the best for hair, but this side-parted lob was a good fit for Streisand’s first MD role in “The Prince of Tides” (1991).
Jeff Bridges carries Barbra Streisand in a scene from the film "The Mirror Has Two Faces," 1996.