Issue link: https://digital.copcomm.com/i/1486000
52 • THE ARTISAN WINTER 2023 I gave Burt a classic 1930s style that I wanted to always feel like it might be time to get a cut again. I kept little nuances such as grown out neck hair that you would see if it has been weeks since a trip to the barber shop. I used a Glampalm Stiletto Precision Flat Iron Thin 0.3" Wide Hair Straightener which allowed me to get right up to the scalp and put a bend in that very short hair that wasn't permed to keep his hair looking like a natural curl. I added small white sections of human hair wefts on the left side of his crown-a special character choice of a head injury in the war that damaged the follicle, therefore losing its pigment. I styled with Brylcreem as they did in the '30s for a true authentic feel. For the year 1918, I was able to give him an actual regulation military haircut, along with using temporary color stain. I applied Goldwell Colorance soft color mousse 5N to cover any gray which gave his hair a younger, darker, shinier, more vital feel. I made use of the reel color dark palette and a mascara wand to color the roots close to his hairline. I added oil-based Brilliantine to his hair as a period-correct product. I learned homemakers used to knit lace doilies to cover the backs of high back chairs and couches to protect the furniture from the oil. Who would have known this was the reason why our grandma's had doilies placed diligently? We were grateful to have such a magnificent ensemble cast that we could all have in completely different hair colors and styles. For Libby's (Anya Taylor-Joy), coronet braids (think Vogue), inspiration came from crown and rope braids of Dorothy Lamour, Barbara Stanwyck, circa 1934, and Lidia Wysocka—all beautiful ladies of the '30s. For Beatrice (Andrea Riseborough), we wanted her look to scream the epitome of the 1930s. A chin-length striking lace wig centered around the romantic waves and curls, using classic finger waves and pin curl wet set. With Hollywood films being at the forefront and providing moments of escapism from the Great Depression, silver screen sirens like Bette Davis and Marlene Dietrich inspired viewers with these glamorous hair styles. For Liz Meekins (Taylor Swift), I wanted a soft beautiful 1930s period-correct hair style. I used her own hair, croquignole curling it with a half-inch iron, pulling slightly off base and keeping the crown flat. Her hair was softly brushed to cluster around her hat. LORI MCCOY-BELL & ADRUITHA LEE We would like to thank the team of very talented artisans—key hair stylist: Cassie Russek; hair for Mr. Washington: Yvette Shelton; hair for Mr. DeNiro: Jerry Popolis; grooming for Mr. Rock: Lisa Deveaux; hair stylist: Iman Newborn; barbers: Andrew Bell and Tamar Izakelian; hair stylists: Jessica Mills, Ginger Damon, Josee Normand, Kate Loftis, Dontay Savoy, Keke Vasquez-Tamali'i, Cheryl Marks, Carol Mitchell, Anthony Minor, Candice Russell, Laura Caponera, Kerry Mendenhall, Lisa Meyers, Alyson Black- Barrie, and Nicole Moore. MAKE-UP Continued from Page 49 At one point, Margot Robbie's Valerie has to pick little metal scraps from fleshy, fresh wounds. It was important for David that Margot was able to do this in the take, which meant testing and ordering specific gloopy and sticky "blood." Margot had many stages of make-up, inspired by Katharine Hepburn and Myrna Loy. We introduce Valerie when she is a young nurse, and an artist in her own right, carefree and very natural. I gave Valerie a warm skin tone and freckles, rosy lips and cheeks. We kept her eyebrows full unlike the thin style of the period to show Margot's rebellious side,