Issue link: https://digital.copcomm.com/i/1486000
THE ARTISAN WINTER 2023 • 51 For the camera test on March 12, 2020, I arrived with a trunk of 20 wigs in all shapes, colors and lengths, and was delighted when Margot (Robbie) walked through the door, since we've worked together many times. At the end of a successful camera test, we got the announcement that everyone was shutting down for COVID. LORI MCCOY-BELL After the nine-month COVID shutdown, I was available, and was ecstatic Adruitha was willing to continue on the journey with me. We immediately made vision boards for each character that brought each their own uniqueness. It was very important for both of us to be speaking the same "language," to be on the same page on our designs or the screen would suffer. Both Adruitha and I gathered references from all kinds of publications, which included anything from yearbooks, films, books, photography, newspaper articles, and personal family albums. All that, along with the research from J.R. Hawbaker and Albert Wolsey (costume designers), Nana Fischer (Department Head Make-up) and David O. Russell's look books married right in together. ADRUITHA LEE As we dove into research and started prepping wigs, it was important for us to replicate these looks rooted in the tools and techniques of those days. I made paper rollers out of paper towels, so that the hair could be rolled in a more authentic fashion to match the rag rollers of the time. We utilized pin curls and wet set finger waves into the wigs. I have an old hairdressing book from 1931 entitled The Art and Craft of Hairdressing by Gilbert A. Foan and found some great techniques to replicate the nuances in our silent movie reference stills, like the halo of baby hairs and perm damage that the actors had in those images. For the men, we found inspiration from The Most Fascinating Portraits in the World: OVER 250 Vintage Mugshots From 1870 to 1970, written by Jonathan H. McAuley. There were numerous characters who wore wigs and hairpieces, and the process was a collaboration with Lori and everyone on the hair team. Usually on a very short notice, if a wig looked like it would work, we changed whatever we needed to change. Sometimes I utilized a product called Nair that melts hair away where it is not wanted. We would replace hair on a wig when we needed more texture or length. We were sewing, darting, coloring, bleaching knots, and ventilating. We played with a lot of design concepts, but always ended up in the realm of the period and economic situation of that character. Valerie's (Margot Robbie) look was inspired by photos I had of my grandmother from the 1920s and 1930s. After seeing the prior test and collecting all the feedback, Lori ordered three wigs in a level 3-4 blend to cover our time period. All three wigs were made with virgin hair with a slight wave pattern, which I then cut into different lengths. Valerie's gala look was sophisticated and reminiscent of Myrna Loy, an actress from the 1920s and 1930s. I achieved this beautiful, soft wave by brushing out the curl I got from the rollers I made, also utilizing the oven and iron which would have been used at this time, creating a finger-waved pattern with roll at the nape. LORI MCCOY-BELL For Burt (Christian Bale), we were looking for a unique hair style to go with Burt's "unique" persona. I was so thankful that the talented Lori Guidroz was able to step in and give him his permanent wave. We made sure to use Quantum extra body acid perm so we would have a strong curl pattern. HAIR Continued from Page 48 Character styles changed through the years covered by the film.