A feminist beneath the sequins: why the world mourned Dolly Parton
Director Marta Elīna Martinsone reflects on country music icon Dolly Parton, describing her as an embodiment of feminism despite the singer never claiming the label herself. Parton's death sparked widespread grief around the world.

Following the death of Dolly Parton, director Marta Elīna Martinsone shared personal reflections on the country music legend, arguing that Parton's life stood as one of the clearest examples of feminism in action, even though the singer herself reportedly avoided the term.
Martinsone recalls that in her childhood, Parton appeared as an unusual figure — a blonde woman with a striking figure and glittering costumes. Her own introduction to Parton came through film rather than music, including a movie also featuring Sylvester Stallone. Over the years, she grew increasingly drawn to Parton's image: enormous wigs, long acrylic nails, plastic surgery and sequined outfits, combined with visible independence, ambition and self-confidence.
Exaggerated femininity as freedom
According to Martinsone, Parton used her exaggerated feminine image as a deliberate mask and costume, and as an expression of freedom. Legend has it she modeled her look in part on a woman from her hometown known for her striking appearance. When people mocked how she looked, Parton reportedly laughed first — everything she did, she did on her own terms, which made her enduringly iconic.
A wide-ranging legacy
Martinsone notes that few celebrities have triggered mourning as widespread and universal as Parton's death. Over her career, the singer moved between country, pop and bluegrass music, collaborating with a diverse range of contemporary artists including Sabrina Carpenter, Post Malone, Beyoncé and Pitbull. She also co-authored a book with novelist James Patterson, launched her own line of cast-iron cookware, and created a dog accessories brand called "Doggy Parton". The author concludes that Parton was, until her final day, a star loved almost universally.


