Issue link: https://digital.copcomm.com/i/1512433
78 • THE ARTISAN WINTER 2024 family through the 1970s, '80s, '90s, into 2016. Knowing that the characters being portrayed are real people, accuracy was vital. I met with our costume designer, Elaine Montalvo, who shared her inspiration boards and pictures collected from the Montañez family photo album. They were instrumental in recreating the characters. Working closely with the costume department was imperative to achieve the correct silhouette for each decade and accurately depicting each character. Carol and I then met with the Department Head Make-up Taylor Roberts and her Assistant Department Head, Madeline McCue, to collaborate on looks for each member of the cast. With the doors of communication now open, the creativity started to flow. I met with our director and producers finalizing all the details. While Carol put the final touches on the organization of our trailer and wig department—pulling wig possibilities through the process—key hair stylist Christi Moraga prepared our continuity book and scheduled our daily hires. Barber Danielle Vigil began pre-cutting and grooming our male actors. With little to no budget and no time to farm-out custom wigs, we had to improvise by customizing my wig stock to create the looks. We began meeting with each actor, along with Juan Nunez who helped customize the fit and adding a new hairline to each wig. I find it imperative to have a wigmaker/hair stylist in my department when doing projects that require multiple wigs and this project was no exception. Carol and I worked weekends throughout the entire production. Because we had to have at least five different looks for each of our two leads, including several for co-stars and our additional cast. Once the patterns were made and the wigs were adjusted, we began the arduous task of designing 25 lace-front wigs, encompassing cutting, coloring, perming, and doing countless wig fittings. Keeping in mind, the entire movie was going to be shot at different locations in 108° weather with occasional rain and storming, which as we all know, both can wreak havoc on hair, let alone a wig. Below are just some of the designs we created to help tell the story: Lead actor Jessie Garcia who portrays Richard Montañez: Required five lace front wigs. Early 1970s, we cut and dressed a wig—feathering the sides. Early 1980s wig was designed into a mullet. Late 1980s, marked a pivotal turning point in the story; Richard begins to build his confidence. Accordingly, we gave this wig a shorter cut, softened the hairline, permed it to incorporate the fuller '80s feel, colored to match his previous wigs, then styled a slight pompadour. We also built a separate piece for this wig to allow for movement at the neckline. For the 1990s wig, we cut a conservative look and colored it two shades lighter to show age progression. The 2016 wig was cut to an even shorter design with a lightly grayed receding hairline to characterize aging. Annie Gonzalez portraying Judy Montañez: Called for six lace front wigs. For 1970, we needed two 26" wigs. The first wig we cut, colored to level three brunette, was styled with middle part, side curls directed back off her face for a softer youthful look. The second wig for continuity only needed a perm. We swept sides up and front fringe back, backcombing it into a large quaff creating height for an authentic chola style. For the 1980s, a light brown wig was cut, permed, and colored to level seven copper-red adding deep brown roots. Using a diffuser to give the overprocessed look of the period, Judy's 1990 wig was cut and then colored to chocolate brown. We smoothed the hair under, curling the sides back. For 2016, we highlighted a golden blonde wig several times, rooted it, then cut it into a shoulder-length bob with bangs. Emilio Rivera/Vacho: We designed three pieces since Vacho played in four decades. 1960s lowering the hairline and perming the piece gave fuller and a more youthful feel. 1990s hairpiece, we thinned the hairline Dennis Haysbert (center) as Clarence Baker