Issue link: https://digital.copcomm.com/i/1545191
46 • THE ARTISAN SUMMER 2026 Justin Theroux (Robert House) Kyle MacLachlan (Hank MacLean) Finished with "As I Am" styling cream, the look maintained definition and consistency on camera while still feeling grounded in the world. Frances Turner's wig work, inspired by Dorothy Dandridge and Lena Horne, utilized medium-set rollers brushed into sculpted waves with spit curls—honoring period elegance while engineered for durability. Kyle MacLachlan's hair was blow-dried into a precise 1950's shape, with subtle airbrushing used to break up and naturalize the gray, keeping the look refined but not overly polished. Macaulay Culkin's style featured a clean clipper fade with a sharp, deliberate part, adding a contemporary edge, while Johnny Pemberton's hair was razor-feathered for texture and styled outward for a slightly unpredictable, expressive finish. e vault communities required discipline. My keys, April Schuller and Katy McClintock, ensured every design was executed with precision. Hair remained uniform, controlled, and untouched by the outside world—so, manageable styles that subtly communicated order and containment. It's the kind of hair that says, "We have rules here," even as those rules quietly begin to unravel. e 1950's flashbacks were where glamour met precision. Twisted rolls, sculpted waves, sharp parts, and high-shine finishes defined the era. e challenge was to honor the period without driing into caricature. ese looks needed to feel authentic—like people who simply lived with impeccable hair as part of their daily routine. And then … the ghouls. Designing for ghouls became an exercise in controlled chaos. Elvis-inspired ghouls featured exaggerated pompadours—iconic shapes intentionally broken down with texture and age. e goal was balance: recognizable yet convincingly weathered by time. Children ghouls required restraint, with sparse, fragile textures emphasizing vulnerability and humanity rather than style. e Freesiders brought expressive individuality back into the mix. eir looks were layered, improvised, and resourceful. Asymmetry, mixed textures, and environmental elements created a sense that hair was styled with whatever was available. It's part punk, part survivalist, and entirely character driven. Nothing matches—and that's exactly the point. e Brotherhood of Steel showcased disciplined, structured grooming. From aspirants to squires, knights to pilots and clerks, each rank maintained subtle individuality within a clear, unified standard—reflecting hierarchy, purpose, and control. On the opposite end, the Legions leaned into austerity. eir hair designs were stripped to essentials—severe, functional, and rooted in uniformity. Individuality was secondary to identity within the system. Raquel Bianchini and Kaity Licina executed the mohawk hairpieces with precision, ensuring every detail reinforced that philosophy. Across all factions, the unifying thread was intention. From hot rollers to clippers, styling creams to dirt, every choice supported the narrative. Texture became language. Shape became a story. And behind it all was a team of exceptionally talented hair stylists whose work allowed the hair to speak as clearly as the dialogue. In the end, designing hair for Fallout S2 wasn't just about creating looks—it was about building a world. One where a silhouette alone could communicate history, status, and survival. And if it held up through wind machines, long days, and the occasional apocalypse? Even better. •