Undeniable Style: Betty Davis

No argument: Betty Davis is the single funkiest woman to come out of the early seventies. Davis’ fashion ranged from space-age egyptian lingerie to regal oriental gowns. Davis, with years of modeling under her belt, hit the mainstream after a couple of killer albums in the early ’70s. With an unapologetic sex appeal, Davis’s sweet croons and authentic badassery scored her hot dates with the likes of Eric Clapton and a short-lived, undeniably influential marriage to Miles Davis. Davis donned outfits Dazed described as, “a kind of Nefertiti sex goddess look crossed with miniskirt haute couture.”

Initially, Davis entered the music scene under her maiden name, Betty Mabry, with Get Ready for Betty. It was ’64 and Davis played it safe with a sound reminiscent of a raunchy girl group. Just a few years later, Davis would sign with Columbia records and embrace her funk.

In the late 60s, Davis dated jazz star Miles Davis. She would marry Miles in 1968. Davis is featured on the cover of her ex-husbands record, “Filles De Kilimanjaro.”

If you’re interested in their relationship, check out this playlist of their influence on each other.

Album art for Filles De Kilimanjaro, released in 1968. Miles and Betty were married from ‘68-’69.

Davis’ early modeling career, with hair to match the bubblegum pop she would record in the early ’60s. The relaxed hair with the flip was very Ronnettes. Also notice general physique, which is less muscular… Davis gets ripped once she starts getting bold, sensual, and funky. Her gyrations on stage would prove to be a workout.

Davis would first sign with Columbia Records, where she mixed the pop stylings of popular female vocalists at the time with the occasional “awh yeah” (a tame precursor to her sexual growls in her later recordings)— with playful clapping, light female backups, and boppy keyboard.

Davis’ later recordings would prove to be genre-defining funk. Heavily influenced by the blues, Davis added a sexual oomph to her vocal stylings. Much like the female blues greats that predated her, Davis’ lyricism was full of first-person storytelling. But, like the greats before her, her gender in the context of popular music was unavoidably political— especially as Davis’ sound got funkier. Her blues-y growls and provocative performances raised concerns from religious groups and the NAACP.

Davis never considered herself a feminist, although her lyrics would often delve into sexual empowerment and other matters inline with the movement’s values.

In an interview with Parts Unknown, Daniel Maggio, production assistant for the documentary about Betty– They Say I’m Different, said, “Betty will be the first one to tell you that she wasn’t a feminist. She didn’t think of herself as that, because she wasn’t politicized like that. Her body itself was political, but she didn’t have political ideology that was stemming this work.”

Fishnets and lacy slips became costume staples. [Sidenote: here’s a great video on why humans find fishnets so damn sexy.]

Although she mostly stuck to skimpy ‘fits, Davis would also don classic late-60s wardrobe staples like fringe and sandals.

An affinity for fringe wasn’t the only thing Davis had in common with rumored love interest, Jimi Hendrix. The two spent a considerable amount of time together and had plans to work together before Hendrix’s death in 1970.

In her 1975 album, Nasty Gal, Davis sings of Hendrix:

“I’m gonna tell ya about a man
He had a lot of feelin’ in his hands
And his name was Jimi Hendrix y’all
Jimi Hendrix was his name
He could make that guitar walk
He could make that guitar talk now
He could make that guitar sing
Jimi yes he could make it do anything anything
He used to say Foxy Lady
He used to say ah Betty Betty
I’m gonna getcha now ow”

Davis’ relationship with Hendrix was also a factor in Davis’ divorce with Miles Davis. Personal drama aside, Miles gave Betty credit for enlightening him with the world of late ’60s psychedelic rock. That influence would lead to Miles’ hit album, Bitches Brew (originally intended to be “Witches Brew,” until Betty suggested swapping the W with the an edgy B).

Although she funked with the realm of psychedlia, Davis wasn’t into the drugs that came with the scene. Her stage presence was often all Betty… occasionally aided by a gin and tonic.

Prior to her flamboyant performances in the early ‘70s, Betty had years of experience on stage while DJing and managing her private club that she owned in her late teens and early twenties. (Badass!)

Davis’ later recordings featured costumes that were far more regal. As her sound evolved and her status grew (especially after dating high profile names and associating closely with T. Rex and Sly Stone). On several occasions, Davis’ get-ups were compared to ancient Egyptian royalty. On numerous accounts, Davis is compared to Nefertiti.

The cover to They Say I’m Different was especially reminiscent of Egyptian stylings. Notice the collar and gold accessories. As for the boots… Those are certainly a product of ’74.

Some egyptian garb, for comparison.

Notice the headdress…

An interesting headdress-like cap on the back cover of They Say… Notice the hoops, which were very popular for black women in the early 70s. As the US got more progressive, hoops got bigger. Hoop earrings are a nod to traditional African dress.

Interestingly, hoops were also common in ancient egyptian fashion.

Now, you can find Egyptian stylings influencing popular culture, as well.

Here’s Beyonce in an Egyptian-inspired look.

And here’s Bey again, this time with a Nefertiti look.

Nefertiti would be proud.

Funny enough, in an interview with All Things Considered, Jack White compared Beyonce to Betty Davis. The similarities are endless: a empowered female vocalist marries a genre-defining man and manages to produce some gutsy takes on love and control. Often, and especially in Davis’ time, songs about love sung by women were written by some white dudes who glorified submission. Early sixties girl groups were all about making sacrifices, finding and pleasing sweet talkin’ guys, soldier boys, sailor boys, babies and angels. Davis wrote most of her work — much like Beyonce — and cranked out songs like “Anti-Love Song” and “He Was A Big Freak.” “He’s My Man,” is undeniably similar to Beyonce’s Lemonade work. Betty set the tone for women not giving a fuck and expecting what they deserve, and her influence carries on today.

Throughout her career, Davis was mindful of her wardrobe on stage and off. In several interviews, she touches on her influences — on her and on other people, and shares her secrets.

Davis would often request custom made pieces — especially when she was donning something on stage. She also had a thing for powerful boots.

Here she is donning some metallic space-age boots, paired with Dukes of Hazard shorty shorts, a thick metallic belt, tied blouse and more turquoise. Davis featured turquoise accessories in several of her shoots. In this particular look, the accessories and denim give the go-go boots a western vibe. The go-go boots must have carried on from the late ’60s hype, while her blouse and shorts are era-appropriate in the age of Woodstock and flowy blouses. Leave it to Davis to button hardly a thing. It’s rumored that Eric Clapton advised Davis to wear the statement boots in this shoot for the cover of Betty’s self-titled album released in ’73 (the same time she was dating Clapton).

Also… Betty talks about a turquoise chain she used to whip her man with in “He Was A Big Freak.” (Fuck yeah!)

Here’s a pic of Betty’s hands in 2016… notice anything familiar?

Here’s Miles in some funky garb in ‘69.

In terms of her fashion influence on her beaus, here’s a pic of Miles during his marriage with Betty in 1969. The use of color is bold and funky, while the cut of his attire is very 1970s. Check out that collar!

Sidenote: This image reminds me a lot of a conservative take on Nigerian Afro-Jazz star Fela Kuti’s eccentric stylings… Fela has stated numerous occasions that Davis is one of his biggest influences, too.

Here’s a pic of Fela Kuti… with more clothes on than usual (he usually donned about as much as Betty on a frisky day). Notice the cut of his pantsuit and the color scheme. You can tell the has some African embroidery and is likely not the polyester mess of a top Miles is donning in the pic above... but maybe there’s some influence there?

The mid-seventies brought immense fame to Betty, but her later releases would prove to have the same popularity as her releases from the beginning of the decade. Davis would retreat from the public eye in the late 70s.

Anyways, that’s all for Betty. Here are some other radical pictures to inspire ya. Thanks for reading!

Here’s Betty with her classic accessories (lots of rings!) and a beautiful oriental print gown. So regal! Looks heavy. Definitely mid-70s stylings, as full, flowy gowns were very in.

More bold as hell boots! Paired with another popular style from the mid-70s, the maxi dress in a light fabric with lace and details reminiscent of late 1800s western wear. The hat replaces the afro, an interesting move, but very Little House on the Prairie.