Issue link: https://digital.copcomm.com/i/1490669
Juliette Lewis as Denise Nicola Peltz HAIR Continued from page 42 voluminous, so I refined it to reduce the volume and create a center part. As the story evolves and the Banerjees step in to wealth, her look shifted into '80s-era opulence with Dynasty-inspired silhouettes. Murray Bartlett played Nick De Noia, Emmy-winning choreographer of the Chippendales. I had a lot of reference images to pull from and definitely used Nick's color and haircut as a starting point for Murray's look. When we started, Murray's hair was quite short, so it was necessary to utilize a wig for the first half of the series in order to take his look into the period. He wore a custom wig from Wigmaker Associates that was expertly cut and styled by Department Head assistant Erica Adams. The color blend was very similar to Murray's natural color, so we were able to transition into his own hair for the second half of the series to show passage of time and a shift in men's silhouettes. Juliette Lewis played the explosively wild costumer for the Chippendales and her look needed to embody that energy. Since she is involved with so many different series right now, I wanted to transform her with a color and texture that was unique to our project. She and I collaborated on the color of her wig, deciding on a beautiful, dark, coppery red. The color really brought her to life. Her cut was inspired by a long, shag haircut of the era and I created a very unique roller set to execute the bouncy mane of curls. Quentin Plair Jr. was a standout in the series and played the star dancer of the Chippendales. It was imperative that his hair was expertly barbered to create a perfectly round silhouette that glistened in the lights of the club. His barber, James Harris, had the daily task of hand-laying Afro-tech across his hairline and recession points to fill in any thin areas before cutting in the round shape and perfecting the silhouette. Nicola Peltz Beckham and Dan Stevens played the infamous playboy duo, Dorothy Stratten and Paul Snider. Since they are such well-known figures in history, it was important to recreate them accurately. Although she had beautiful blonde hair of her own, I used a custom lace front wig for Nicola in order to match Dorothy's soft, '70s silhouette. The combination of the delicate fringe and bouncy, voluminous curls really transformed her. When Dan was cast, his hair was bleach blond with a strong, dark root. My friends at Harper Salon on Melrose, overhauled his color and brought him to a moody, dark brown before Erica Adams transformed his cut and style. We had the unique challenge of working with a rotating cast of dancers that were often selected just days before they were scheduled to be on camera. Finding dancers with period-appropriate hair was nearly impossible and it became clear, early on in the process, that we would need a huge stock of wigs ready to go. I collaborated with Rob Pickens to design a stock of lace front wigs for the guest dancers. Rob and his team built more than 20 wigs that ranged in color and texture, with custom hairlines based on a variety of our favorite men's hairlines in Hollywood. This gave us the ability to fit our dancers as they were cast and allowed us to turn their wigs around in a matter of hours when necessary. Michele Arvizo was crucial to this process and masterfully executed the period haircuts on all of the dancer's wigs, quickly and efficiently. The world wouldn't be complete without our amazing background actors and the hair stylists that brought them to life. My team of L-R: Annaleigh Ashford as Irene, Kumail Nanjiani as Steve, and key make-up artist Abby Lyle Clawson L-R: Department Head Make-up David Williams, Annaleigh Ashford, and Department Head Hair Barry Lee Moe