Issue link: https://digital.copcomm.com/i/1546047
LOCAL706.ORG • 15 HAIR B Y L O R I G U I D R O Z D E P A R T M E N T H E A D H A I R When I approach a project, I always begin with one central question: How does the character live in their hair? For me, hair design is never about imposing a look—it's about revealing a life already in motion. On Beef Season 2, that philosophy became the foundation of everything we built. The show lives in emotional nuance, contradiction, and quiet intensity, so the hair needed to feel equally organic—never overdesigned, never distracting, but always intentional. My work has always leaned toward natural movement—hair that breathes, shis, and responds to the character's environment and internal state. For this project, I wanted each character's arc to be reflected through texture, density, polish, and control. Nothing should feel traditionally "done." Instead, it should feel lived- in, like we've caught each person mid-thought, mid-day, mid-life. Oscar Isaac's look was led by his personal hair stylist, Tim Nolan, who designed the stylized mullet that became such a defining part of the character. Tim is an incredible collaborator, and while he worked seamlessly alongside our team, the direction and execution of Oscar's hair was fully his. e result felt distinctive yet grounded, aligning naturally with the world of the show. Carey Mulligan's character lived in a short bob that carried a sense of ease—slightly carefree, with organic movement that never felt overly arranged. It had a natural lightness as if it simply fell into place. In moments where she steps into a more defined role—particularly at the country club as the manager's wife—we allowed the hair to feel more composed. Not stiff but gently polished while still honoring its movement. As Continued on page 18