Issue link: https://digital.copcomm.com/i/1521284
56 • THE ARTISAN SUMMER 2024 immersed myself in the artifacts and narratives that brought the past to life. Each character in Lawmen: Bass Reeves became a vessel through which I could explore the nuances of a bygone era, delving deep into the intricacies of their lives and experiences. One of the most profound revelations of my research was the realization that, for the individuals of that time, hair styling was not merely a matter of aesthetics; it reflected their identity, culture, and lived experiences. In a world marked by hardship and uncertainty, their primary focus was survival and the well-being of their families. As I delved deeper into the historical context of Lawmen: Bass Reeves, it was critical for me to create all the characters with a sense of authenticity that would resonate with the audience. e next task was to assemble a team of passionate individuals who shared my vision for period hair styling. With Antoinia Pratt as my key, Wayne Jolla and Raquan Carter as my barbers, and Waseema Jackson and my additional hair stylists rounding out the team, I was confident that we could bring our collective vision to life with precision and flair. Central to my approach was the creation of the custom wigs and hairpieces that would capture the essence of each character's personality and journey. Whether it was David's portrayal of Bass Reeves or the supporting cast of characters, every detail was carefully craed to reflect the distinction of the period and the individuality of the characters themselves. From the textures of kinky curls to the subtle dent marks we created that give the effect of it being le by hats worn for hours on end, every detail was carefully considered. Each flyaway, kink, greasy strands of hair, and grungy hair styling tells a story, contributing to the truthful experience of Lawmen: Bass Reeves. When creating the looks for each character, texture also played a massively important role in the telling of the story. Not having access to all the different hair textures of Black and Native Americans in Fort Worth, Texas, proved to be an inconvenience at times. With all the last-minute unpredictable weather changes, I had to start sourcing most of the textured hair from my hair and product line company ONE by Wankaya and different places all over the country and customizing it in little or no time. Keep in mind, all the hairpieces and wigs had to be removed every night, taking another full hour to properly block and reset each wig to be ready to work for the next day. Every hairpiece and hair style on the main cast members, photo doubles, stunt doubles, day players, and background characters had to be attended to because it was a period piece. Some days we would have two filming units, more than 300 background, plus main cast, stunts, and photo doubles. Working with David Oyelowo personally was an overall incredible experience. Every day, David brought amazing energy which was needed on the project that at times was emotionally taxing. He already had a preconceived idea of what the character should look like because he had lived with the project for several years. We began filming the series with David's natural hair that he spent months growing out. We wanted to play the longer Afro for Bass's younger years. Once he receives his deputy badge, we planned to cut his hair low and establish his signature hair part to showcase a cleaner more distinguished look than what we've previously seen on Reeves, during his period as a slave. e transformation into the character Bass Reeves presented its HAIR Continued from page 53 Margot Bingham as Sara Jumper and David Oyelowo