Issue link: https://digital.copcomm.com/i/1514620
24 • THE ARTISAN SPRING 2024 couldn't cut, so customizing a wig was our only option. Quite a few of our male characters wore wigs, including Boryweitz, John Zott, Reverend Wakely, and the Bishop, just to name just a few. Time was not on our side. So, to help us out in a pinch, Linda Flowers and Danny Robles set and dressed a multitude of wigs to have on standby for day players. In the meantime, Sharisse Fine and Terri Velazquez-Owen and Nikki Young prepped a collection of wigs for the B trailer. We wet-set and used croquignole techniques on more than 200 wigs throughout this project, as more actors and background artists wore wigs than not, in order to accommodate our challenging schedules that encompassed up to four decades each day. Wigs in the 1920s and early 1930s required specific lengths and perms. We used shorter hair and tighter finger waves with spit curls in the 1920s to distinguish from the slightly longer brushed-out finger waves of the 1930s. Wigs in the 1940s also had specific cuts and shaping. We utilized longer hair, bumper bangs, victory rolls and snoods to capture the late 1940s, differentiating from the more coiffured styles of the 1950s. e majority of the storyline took place in the 1950s, and we designed our wigs and hair styles using specific, distinct shapes for each year within this decade, and always made room for a hat! For the early 1950s, we styled ponytails, short fringe and more squared designs; mid-1950s were characterized by shorter designs such as the pixie and so bobs; with the late-1950s featuring the French twist and more rounded backcombed styles such as the bouffant. To create 1960's hair styles, we kept the backcombing further back at the crown, and used fringe, swoop bangs, flips and beehives. Meanwhile, Randy Sayer was supervising fittings with Nikki Young while Kase Glenn, TJ Romeland, Robert Mathews and Erik Taylor handled men's grooming and hair, making sure each gentlemen's cut was barbered precisely to the decade's specification. I'm grateful to executive producers Louise Shore and Brie Larson, who gave us the opportunity to work on this inspiring production, and I'm so proud of our department's contribution. Hair and make- up are guaranteed a close-up in every scene, so we worked closely with both directors of photography, Zack Galler and Jason Oldak, making sure every shot was good for hair. It was such a creative endeavor collaborating with Department Head Make-up Miho Suzuki and her team, along with the costume designer and her department, transforming the actors into their characters, helping to transcend them and the audience into a different place in time. I would like to extend a huge thank you to our hair PAs, Boutheyna "Boots" Khokh and Emma Bailey, as well as a massive shout-out to the hair stylists who shared their talents on this series, including Josee Normand, Gail Ryan, Joy Zapata, Cathie Childers, Anthony Wilson, Mitch Stone, Solina Tabrizi, Cheryl Eckert, Norma Lee, Polly Lucke, Connie Kallos, Linda Rasmussen, Melanie Verkins, Jackie Masterson, Daniel Curet, Iman Newborn, Jackie Zavala, Aley Gallinda, Alison Black-Barry, Jennifer Singleton, Leighann Pitchon, Heather Haynes, Troy Zestos, Barbara Dally, Sallie Ciganovich, Curt Darling, Ketty Gonzalez, Stenice Anderson, Kahlil Sledge, Alyssa Kim, Eileen Bugnitz, Rashone Crayton, Skip Pettus and Anissa Salazar. • Aja Naomi King with Paul James as Charlie Sloane Patrick Walker as Reverend Wakely Stephanie Koenig