Issue link: https://digital.copcomm.com/i/1524900
THE ARTISAN FALL 2024 • 49 in braids, buns, or twists. Young girls could be seen with their hair worn down or in braids, and as they matured, their hair was secured up. A woman's basic style would most likely stay consistent. Soness and tendrils were requested by Costner. Styles were not to be perfect like in a posed photo. We called the lived-in period hair styles "prairie hair." I was adamant about the team avoiding heavy hairspray, gels, or too many pins. Flyways were welcome, along with imperfections. If a hair style became too messy, we all had Topsy-Turvys to rethread the hair back into the style. Make-up would have been a luxury for female pioneers and settlers, not a necessity. Most likely, the only options available in the 1800s were face powder, cream rouge, and lip pot color. Key make-up artist Shalyse kept the Horizon ladies' make-up transparent, the skin protected from the intense sun, cheeks naturally bronzed, and the dirt pretty. All the ladies had flawless skin and were oen fair. She used versatile products that looked as much like skin as possible and focused on changing the undertones. A few products that worked on most of the ladies included Benefit Hulu Bronzer, Ben Nye Sunburn CL-9, Danessa Myricks Vision Flush in Bread and Butter, and MAC Face and Body. "Pretty Dirt" was placed in a contour pattern but diffused out not to look intentional. An orange stipple sponge was sprayed with Final Seal and water before being dipped into Ben Nye loose powder dirt. e combo kept the pattern from the stipple and had longevity on the skin. Frances Kittredge (Sienna Miller) enters our story by attending a town dance with her family, who has the comforts and security of a settled home. In this place, she can keep up some of her customs and present herself as a lady. Her hair starts in a clean look; hair rolled at the sides to meet in the back at a low chignon with very few pieces falling loose. Sienna's no-make-up look started with a light translucent foundation, Bronzer higher on the cheeks, and temples to mimic what the sun would naturally do. Bronzer dusted on lids to blend the look and cream blush. As her world unravels, so does her hair and make- up; the blush's placement shis, and hair becomes less kept. e red dirt she was covered in the tunnel carried until she could clean up, but slight bits of dirt were applied to her hands throughout because of her duties and work at the fort. Sienna's hair was pulled back with side rolls and so tendrils on the perimeter. Extensions were added for length and to blend her layers. Instead of securing her style with pins, I sewed her style into place, staying aware of where a U-pin would naturally hold the hair. is allowed for looser styles, no sneaky pins popping out, and fewer touchups, especially while pulled from the tunnel through the dirt. Her takedown at wrap was quick, with just a few thread snips to release the style. Elizabeth Kittredge (Georgia MacPhail) enters the dance with bouncing curls and two temple braids secured back with a ribbon. Extensions were added for more fullness. I love seeing the progression of a story played out in a character's hair. Aer Elizabeth survives the attack and is rescued from the tunnel, her curls drop, her braid begins to fall out, and she is covered in dirt. Even aer she is cleaned up, her same style is kept. Her make-up artist, Shirell Nestlerode, kept Georgia's extremely fair skin protected and slightly sun-kissed. e storyline even points out her mother insisting she stay out of the sun. Ellen Harvey (Jena Malone) is hardened from needing to be the protector and has little time or interest to fuss over herself. e struggle with Jena's make-up was that she has flawless porcelain skin and perfect brows naturally. She needed to be weathered. Blush placement was in the middle of the cheek to read as a natural flush rather than a beauty blush. A slight bronzer was used to give dimension and depth for the camera. Jenna's practical hair bun was to be her attempt to pull herself together for her husband's meeting; it was effortless and slightly frazzled from her rushing around. It was Jena's request for the auburn hair, which would need to be a wig. I had just been gied the perfect color and length of wig for her from Francisco. Anna's wig skills were invaluable, she resized and refronted the wig to fit Jenna perfectly in a very short amount of time. e wig initially belonged to the late Elle Sienna Miller (Frances Kittredge) Jena Malone (Ellen Harvey)