Issue link: https://digital.copcomm.com/i/1514620
THE ARTISAN SPRING 2024 • 41 PHOTOS BY JAKE GILES NETTER/MAX for Candy. Karen Bartek was Elizabeth Olsen's personal hair stylist and did an amazing cut, color and style from the beginning on her own hair. Then for the second half, Karen did a beautiful job matching Elizabeth's wigs to the real Candy's look in court. LH: This was a very fun and collaborative project. Michelle and I both worked closely together, along with Audrey Fisher, our costume designer. You have to marry hair, make-up and customers together to form the perfect character. Anytime you watch a show or movie, it doesn't matter how good the other two are if one of them is off. I had worked with Audrey before, so once we started, she sent me books and books of all her costume designs broken down by character. Once Michelle joined the team, it was full steam ahead determining each character's look. For example, once Michelle decided to turn Krysten into a redhead, Audrey and I had to lean into the redhead palette for her make-up and wardrobe. It was definitely a back-and-forth process to accomplish our ultimate goal of what we wanted each person to look like, and that is the most important thing on a show to me. If we can't work together, viewers can tell when they watch. It was also important for us to work together because we had a large cast to get ready. MC: In addition to our main cast, we had to create lots of last-minute pieces and used stock wigs for the supporting cast, as well as having to get ready hundreds of extras. We had a ton of Austin locals, as well as some very talented members of Local 706 and Local 798 to help create our period on all the BG in the town and courtroom. Everyone was incredible and worked tirelessly to get everyone just right. The background sets the whole look, you know, we can't have our actors looking period correct and background not following suit. We had different setups for the extras with tons of hair and make-up stations in extra-large tents. Chris Clark and Alyssa Shores ran all of the BG. Chris also took care of some wigs for us on our supporting cast many days when we were slammed. Rob Pickens, my wigmaker, also always knocks it out of the park with creating amazing wigs to work with. LH: Going off of that, make-up was also a team effort. I was able to bring two people from my team that I work with all the time and trust 100%. I give them the overall look, and then let them be creative as well. I don't want it to look like I did everybody because then everyone would just look the same. Giving guidelines and letting artists create on their own is a good way to create a full cast and community that look like regular people. I also love for my team to talk with the actors to collaborate on their look, while staying within the boundaries of the time period. We were also working with the hundreds of background actors, and luckily, I found and hired a local make-up artist named Madison Miller. She was unbelievable. She instantly became part of our group and worked out an entire organized system to get everyone through hair and make-up on time. Without my team, we would have failed day one. We were also shooting outdoors in the Texas heat, so everyone was sweating. To keep actors as comfortable as possible, we didn't use prosthetics or try to alter their appearances too much with heavy make-up. Instead, we had our talented cast and leaned into the way they looked. We did have masks, costumes, period hair styles, wigs, fake beards, fake sideburns and more, but we all bonded and got through it together. Sometimes sideburns just L-R: Tom Pelphrey, Adam Cropper, and Christin Sawyer Davis L-R: Patrick Fugit and Elizabeth Olsen Elizabeth Olsen Elizabeth Olsen