CHAPTER 15
Hair and Wigs

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The hair is always an important element in any makeup and is invaluable as a means of suggesting period, personality and age (see FIGURE 15-1). There is so much effort required for collecting research, developing a character analysis, and creating makeup sketches that failure to make the hair suit the character can compromise an otherwise skillful makeup. If you are creating a likeness of a famous individual, then the appropriate research should guide you in the right direction. If you are creating a new character, then your research should include several style possibilities for that character. Thorough research and planning are vital to the design process and will serve you well in your collaborations with the costume designer, director, and actor, as you select a style that is both flattering to the actor’s features and appropriate for the character.

You have many options with which to achieve the hair styles. You can use the actor’s natural hair, you can use wigs, or you can use a combination of the two (see FIGURE 15-2).

Natural Hair

RESTYLING More often than not the actor’s own hair can be appropriately styled for the character being played. The hair can be parted on the side, in the middle, or not at all. It can be combed or messy, straight or wavy, close to the head or fluffed out.

For both men and women it is possible to wave the hair, if it is naturally straight, by setting it with pin curls, rollers, hot rollers, or by curling it with a curling iron. If the hair is to look well groomed, it can be sprayed with a commercial hair spray, or hair dressing can be applied with the fingers and combed through the hair.

For characters whose hair would be expected to look dull and lifeless, face powder the color of the hair can be dusted on, or a little cake makeup or liquid body makeup of the desired shade can be applied with a sponge. If the hair is to look stiff and matted, it can be heavily sprayed with a liquid setting lotion or hair gel, shaped with the fingers, and dried with a hairdryer and diffuser.

CUTTING There are times when cutting the hair is the simplest method of achieving the correct hairstyle for a character. If actors are willing to have their hair cut, they can be sent to a barber or a hair stylist with sketches and visual research of the desired style.

Occasionally the style required might be so unflattering to modern eyes (though appropriate for the period) that actors may well object to having their hair cut. This can also occur if actors are involved in a play and doing commercial or film work at the same time where they are expected to maintain a certain style for continuity purposes. If actors are not willing to change their own hair, wigs may be used instead. (See the section on Wigs and Hairpieces in this chapter.)

COLORING Another design option for creating the hair for a character is the addition of color. There are three methods for accomplishing this: permanent, semi-permanent, and temporary color (see FIGURE 15-3).

Permanent color is as the name implies. To minimize the chances of irreparable damage to the actor’s hair, it is strongly recommended that a professional cosmetologist who has experience coloring hair make such a change. Please note, hair that has never seen harsh chemicals, as those involved in coloring, permanent waves, or relaxers, will take the color much better than hair that has been processed. Be aware that over-processing can cause damage to the hair.

Semi-permanent color is often used to temporarily color graying hair to help it blend in with the natural hair color. Semi-permanent color can be used to change an actor’s hair color if the run of performances is limited to one or two weekends or if the actor is unwilling to make a permanent change. If you intend to use a semi-permanent color for an extended run, expect to refresh or re-color the hair every week and a half to two weeks. This will largely depend on how often the actor washes his or her hair.

Temporary hair color comes in a variety of forms including liquid, mousse, spray, and gel. It is readily available at most beauty supply stores and is the easiest coloring option. It simply washes out with regular shampoo. You can successfully change the hair color from light to dark with this product but lightening dark-colored hair would best be achieved with a spray-on color. Temporary color should not be used if actors have a tendency to perspire profusely. The color will lift from the hair as they sweat and will stain the skin and the clothing.

You should always follow all directions. Preparation and careful application is a must with hair coloring products. Some of them will stain the skin and all will stain fabrics. In the case of most permanent colors, it is important that you also use proper ventilation as the chemicals involved often have a very harsh scent. As always, if you do not feel comfortable doing the coloring yourself, contact a local professional.

GRAYING There are many products on the market for adding gray color to natural hair. There are sprays, sticks, creams, and liquids (see FIGURE 15-4). They come in many shades, including silver and white, but do not always look natural on everyone. One of the major concerns with hair whiteners is that flat white and gray can often appear to have a bluish cast or can turn chalky on dark hair colors. Hair whitener applied over dark hair may require a warmer yellow or orange tone mixed into a base. It is to your advantage to test your colors under performance lighting when possible.

When choosing a graying product, consider the hair styling process prior to and after it is grayed. Most problems occur when petroleum or oil-based hair styling products are used. With the exception of aerosol colorants, most graying formulas will simply not adhere to these styling products. Even when using spray-ons it is difficult to retain the intensity of the color after the hair has been combed or brushed through. If gray hair color needs to be applied over styling products, a water-soluble brand will provide a more suitable surface on which to paint.

Aerosol colorants are not recommended for actors if head coverings and touching of the hair are part of the action within the performance. These spray-ons, when dry, can produce a rather comical powder-puff effect sending dust-like particles floating through the air Color sticks can be substituted for adding streaks or coloring specific areas. Liquids can also be used for overall graying effects, but will, on occasion, come off on hats.

No matter what kind of graying product you use, it is important that you avoid blending color into the skin around the hairline. A medium or soft bristled toothbrush is an excellent tool to assist you in accurately applying fine streaks of color in the hair. Toothbrushes are particularly useful for applying small amounts of color to the hairline at the temples and sideburns and to eyebrows and facial hair. A disposable mascara wand is another handy tool that will allow you the same control. For covering larger areas, a very soft bristled brush, such as a baby brush, can be used. Be sure to protect the costume by covering it with a smock or cape. Many of the graying products have an oil base and will not easily wash out of the clothes.

Here are some tips for applying color to the hair:

1. Spray-on products can be used as directed or sprayed into a small container and applied with a toothbrush. If the spray-on color is to look natural, it is important that you carefully comb through the style after the color has dried.

2. Liquid colors should also be applied with a brush or toothbrush by pouring the color into a bowl or dipping the brush into the color, blotting the excess on a towel or tile, and brushing the color into the hair. Liquid color can be combed after it has dried. Note: liquid graying products must be mixed well or shaken vigorously before application.

3. Stick colors should be applied by carefully drawing the color through the hair. Comb or brush as necessary.

4. Cream or pancake makeup of the appropriate color can also be used and applied with a makeup brush (see FIGURE 15-2) or with a toothbrush. The pancake makeup will require water to make it work. Dip the brush into the water, tap off the excess liquid, and scrub the brush over the pancake. Apply as with liquid color.

Shoe polish is not recommended as it can damage actors’ hair (some actors, however, find shoe polish a useful tool.) Using white powder or cornstarch is also discouraged, as it will have the same dusty effect as spray-on hair color.

Wigs and Hairpieces

If it is not possible or is impractical to use the actors’ own hair, then a wig or hairpiece must be used. Wigs are often worn in period productions to create the illusion of historical accuracy. They can also be worn when actors will not or cannot cut or color their hair, or when an actor has no hair at all. By definition, wigs cover the entire head and hairpieces are used to supplement a wig or the natural hair. If you are considering the use of a wig, do not wait until the last minute. Wigs are not as cooperative as you might think and the desired style may take a few tries before you get it right. Wigs can be purchased at specialty retail supply shops and at most costume stores. There are many companies that sell wigs and hair products on the Internet and some will send catalogues when requested.

Wigs are usually made of human or synthetic hair. Human hair wigs can be colored, set, curled, and styled just like the hair on your head, but are easier to reach. Synthetic wigs can also be set and styled, but are extremely difficult to color. It is best to purchase a synthetic wig in the appropriate color.

THE PARTS OF A WIG A store bought wig will look different on the inside than a handmade wig. The foundation will often include a base made of lace elastic and a rubber latex skin crown (see FIGURE 15-5). The hair on the body of the wig is made up of rows of wefting sewn to the lace elastic and the remainder is machine punched into the skin crown (see FIGURE 15-6A, B). There is usually extra elastic in the center back that is used for fitting the wig to different head sizes.

A handmade wig will often have several types of wig-making netting or lace in the foundation (see FIGURE 15-7A B). A heavier vegetable net is often used in the perimeter, lighter weight caul netting is used in the crown, and a medium and lightweight wig netting is used in the front of the wig. The hair on the wig can be rows of wefting sewn onto the foundation or the wig can be completly hand tied or ventilated. If the wig has not been made for a specific individual, then there will be elastic or another device in the center back to allow it to be tightened.

Measuring for Wigs

Taking measurements for a wig has several purposes: measurements will tell you what size head block to use; they will give you points for drawing a hairline; and they can be used to send to various companies that rent wigs. Measurements a through e are used most often. Measurements f through h are most helpful when the wig is custom made for the actor (see FIGURE 15-8).

a. Around the head (behind the ears) from the front center of the hairline to the nape of the neck and back. (Average measurement: men, 23–24 inches; women, 22–23 inches.)

b. Over the top from the front center of the hairline to the nape of the neck. (Average measurement, 12–14 inches.)

c. Ear to ear over the top of the head at ¼ inch above the join. (Average measurement, 11–12½ inches.)

d. Temple to temple front across the forehead above the eyebrows. (Average measurement, 6–7 inches.)

e. Temple to temple back across the widest part of the head. (Average measurement, 16 inches.)

f. Sideburn to sideburn over the top of the head. (Aver age measurement, women, 12 inches, men will vary on length of sideburn.)

g. Bottom of ear to bottom of ear back of the head over the nape. (Average measurement, 6 inches.)

h. Nape bottom hairline on the neck. (Average measurement, 4 inches.)

Most measurements should be taken with the actor’s hair loose and down. However, if the wig is to be styled with an upswept or a short look, it is recommended that long hair be pinned up in pincurls and new measurements taken. This will add approximately ½ to 1 inch to all the measurements.

It is also wise to observe the length and texture of the actor’s hair. Keeping a visual reference library of company members or of student actors by taking photographs with a Polaroid camera can be of great assistance. Taking notes will also help you remember certain details that can and should include observations related to color. This is particularly important when you need an exact hair color match when buying a fall or chignon. Hair color rings that include dozens of numbered color samples are available from most wig companies, like CMC in California (see Appendix B). These color rings can be purchased and used to match the actor’s hair color to a swatch number. Then simply order the correct hair goods.

Selecting Wigs

By the time you are ready to select a wig, you should have finished your research, taken accurate measurements, and decided upon the hair color and style to best complete the look of your makeup. Budget considerations may affect the decision to invest in synthetic or human hair wigs. The price of both human hair and synthetic wigs will depend upon color and length. If you need a wig that is graying, you can always get one that is the proper base color and gray it yourself using one of the coloring methods listed in earlier in this chapter.

Styling Wigs

Human hair wigs can be set and styled just like your own hair. You can even curl a human hair wig with a curling iron. Synthetic wigs can also be set and styled. You can even change the style from curly to straight and back again. The secret to styling synthetic hair is steam. Set the wig in rollers and then steam the hair with a clothes steamer, then set it under a bonnet hair dryer or in a wig dryer for approximately thirty minutes on medium heat, after which it can be removed and allowed to cool. To finish styling the synthetic wig, first remove the rollers and then using clips or pins to hold the style in place, lightly steam the wig again. Allow to dry, remove the clips and touch up as necessary. To remove excess curl, simply pull the hair straight with a comb, following the comb with the steamer.

Falls and Chignons

Falls are hairpieces used to lengthen the back of the hair. A full wig can be used as a fall if it is set back on the head and the natural hair in the front is blended into the style.

A chignon is a hairpiece that is used as an addition to the natural hair (see FIGURE 15-9). It can add height, volume, and depth to a style. It can be used as extra curls, braids, or buns.

A switch is a type of chignon that is also used as an addition to the natural hair. It comes in the shape of a ponytail and is made of wefting. It can be shaped into a bun, but it is most often used as a braid or a length of curls. It is also quite useful when you need to lengthen an existing ponytail.

Attaching falls and chignons to existing wigs can improve the versatility of any company’s wig stock.

Cleaning Wigs

The process for cleaning and conditioning human hair wigs can be identical to caring for your own hair. After taking down the style and carefully brushing through the wig, wash it in warm water using a mild shampoo and a light conditioner, then rinse well. Towel dry and carefully comb through the wig using a wide toothed comb. Allow the wig to dry thoroughly or place it in a wig dryer before putting it away. The process of washing a human hair wig will remove all of the curl, so be sure to leave plenty of time if you need to restyle it for the next performance.

Synthetic wigs can also be cleaned and conditioned. After taking down the style and carefully brushing through the wig, wash it in cold water using a mild shampoo. Use a light conditioner on the wig and rinse well in cold water. Towel dry and carefully comb through the wig with a wide tooth comb. Allow it to dry thoroughly. Washing a synthetic wig in cold water will retain its curl. Washing a synthetic wig in warm or hot water will make the curl fall or come out completely. Using a conditioner on a synthetic wig will help to control frizz and static electricity.

The following are two suggestions that may dispel any myths about caring for a synthetic wig:

1. Please do not wash a synthetic wig in the washing machine. You will do severe damage to the wig, and it will take you days to comb out all of the tangles.

2. Please do not use a fabric detergent or fabric softener on a synthetic wig. They are too harsh, they do not completely rinse out, and your actor may be sensitive to the chemicals.

Adding a Natural Hairline

It is possible to add a natural hairline to the front of a purchased wig. This can be accomplished by stitching fine netting or wig lace onto the front edge of the wig and ventilating into it a natural hairline. The measurements recorded on the measurement sheet will assist you in determining the shape and size of the new hairline (see FIGURE 15-11A, B.) This is the procedure for fronting the wig shown in FIGURE 15-12:

1. Using a seam ripper, remove the binding from the front edge of the wig. This ¼-inch tape contains a row of hair that should be saved and later used for ventilating into the new lace front.

2. The remaining ¼-inch seam allowance on the wig should be carefully pressed flat. When using a synthetic wig, simply dampen the seam allowance and dry it with a hair dryer. Avoid touching the iron to synthetic hair.

3. Place the wig loosely on a canvas head block of the appropriate size. Loose placement will later accommodate pincurled hair. For actors with short hair or for wigs styled in shorter lengths, a close fit against the head block will be necessary.

4. Place the wig on the head block and arrange it so that the center, back hairline is at approximately the same place as that of the actor’s. Using a 1 ¼-inch long, round-headed pin, secure the back hairline to the block. Now secure the front hairline just behind the seam allowance with five pins, one at each of the following locations: at the center front; at the sideburns; and centered between the center front and sideburns. Control the hair with a piece of twill tape (see FIGURE 15-13).

5. To determine the new hairline:

6. Position the wig lace over the front of the block with the holes of the lace running vertically to the center front of the wig. Carefully drape the lace onto the new front area until it fits smoothly between the edge of the wig and the hairline. Secure the lace with the round-headed pins as demonstrated in FIGURE 15-15B. Trim the lace to approximately 1 inch from the pins.

7. Using silk or cotton/polyester thread in a color that matches the wig, sew the lace to the edge of the wig. Starting above the ear, sew through all layers securing the first stitch with a double knot. Using a small whip stitch, continue to attach the lace to the wig along the wig edge (FIGURE 15-15C). An optional sewing technique is to connect the lace to the wig using a ventilating needle and transparent nylon thread. The stitch utilizes the same technique as ventilating hair (FIGURE 15-15D). For narrow allowances, as seen in this example, the ventilating stitch should be executed in a zigzag pattern for strength and for minimizing its visibility. On wider allowances, two rows of stitching are recommended. Once the stitching has been completed, trim the lace close to the stitching line with a good pair of scissors (FIGURE 15-15E). Hair can now be ventilated into the new lace front. See FIGURE 15-16 for proper ventillating posture. The procedures to ventilate follows.

If the hair is to be combed back, simply work from the wig edge towards the front hairline, pulling the hair towards the back of the wig after each knot. Brushing or combing it occasionally as you work will keep stray hairs from getting in your way. The amount of hair you use will depend on how thick you want the hair to be. Ordinarily, it is desirable to keep the wig as light in weight as possible within the limits set by the effect you are trying to achieve. The hair can be knotted into the binding tapes as well as through the net.

As you approach the front hairline, use a smaller needle and space your hairs evenly and closer together. It is, in fact, usually a good idea to stop ½ to 1 inch from the front edge, turn the wig block around, and work the hair from the opposite direction, beginning at the edge of the hairline, allowing the hair to hang down as if over the face. When you reach the previous stopping place and the ventilating is finished, comb the front section back. It will stand slightly up and away from the forehead making the hairline somewhat less obvious. (See Construction of Ventilated Pieces, Chapter 14).

Trimming the excess lace from the new hairline largely depends upon the technique of the wig maker and size of the performance venue. Wigs for the opera stage often have lace edges in excess of 1 inch, while those for film can be less than ¼ inch. In general, the more intimate the viewing, the narrower the lace edge becomes.

Putting on and Securing a Wig

There is nothing more humiliating than losing your hair on stage, especially if you had not intended to do so. Actors must enter the stage feeling confident that their wigs are securely fastened to their heads. Putting on a wig is a simple process, but one that takes much practice. An actor should always seek assistance from a professional before putting on a wig. The correct procedure follows.

To begin with, have the proper tools (see FIGURE 15-17):

The wig

Bobby pins

A wig cap the same tone as the wig (or as close as possible)

A rat-tail comb

Medium hair pins

Large hair pins (if possible)

Spirit gum (if the wig has a lace front to be glued to the face

A small piece of chamois cloth or a powder puff

PINCURLS First, roll the actor’s hair into pincurls. Not only do the pincurls secure the actor’s hair underneath the wig, they are also the anchors for the hair pins used to pin the wig to the actor’s head. Take a small section of hair (approximately 2² inches) in the front center of the head and wrap it around two fingers of your hand as in FIGURE 15-18A, B. Carefully slide your fingers out holding the curl flat against the head as in FIGURE 15-18B. Secure the curl with two bobby pins crossing each other at a right angle. Make sure to catch the curl along with the hair underneath. The pins should make a cross or an x over the curl. Continue making pincurls around the hairline, systematically filling in the top as you go (see FIGURE 15-18C, D, E). You should have at least ten pincurls by the time you are finished. Make sure they are all tight and flat to the head.

WIG CAP Next, put on the wig cap. The wig cap serves three purposes: (1) to hold the pincurls tight against the head; (2) as an extra anchor in which to pin the wig; and (3) to help absorb some of the perspiration from the actor’s head. Start by stretching out the wig cap with your hands. It will be easier to put on and is more comfortable for the actor if it has been stretched to a larger size. Place one edge of the wig cap on the actor’s forehead at approximately ½ inch below the hairline. Have the actor hold the wig cap in place; this will free your hands to stretch the cap over the head. Pull the cap out and down over all of the pincurls to just below the hairline at the nape of the neck. Be sure to cover the tops of the ears as you gently release the cap. The actor can now release the wig cap as well. Carefully slide the wig cap back revealing the fine hairs at the front hairline. Stop at the edge of the center front pin-curls. After sliding the wig cap up off of the ears, take the “tail” end of the rat-tail comb and carefully tuck any stray hairs up into the cap (see FIGURE 15-18F). Then tuck the excess wig cap at the top of the head under itself making a tidy horizontal fold. (see FIGURE 15-18G). Using a small hair pin (these are different from bobby pins), pin the wig cap to the pin-curls at the center front, at the temples, and on either side of the nape following the pinning technique shown in FIGURE 15-18F.

ATTACHING THE WIG Now put the wig on over the wig cap. You should be standing behind the seated actor and both of you should be facing the mirror. Take the wig and hold it over the head, placing the center front of the wig on the forehead just below the hairline. Set the wig down onto the head and slide it back into place. Using the sides of the wig at the ears as a handhold, make sure that the wig is evenly placed and centered (see FIGURE 15-19B).

You can easily hurt an actor while pinning the wig to his or her head. You can avoid this by placing one hand under the wig at the spot where you intend to insert the pin. Push the pin through the wig until it touches your hand. Remove your hand and gently push the pin under and into the pincurl. Use medium pins along the front hairline and large pins toward the back. Repeat the process as necessary. Once you get used to the feeling of the pin going through the wig netting, using your hand will most likely not be necessary. It is recommended that you pin the wig to the head in places similar to that of the pinning of the wig cap. Then pin as the weight of the wig requires and the actor feels is necessary. Once you have finished pinning the wig to the head, the wig should be secure and should not come off until it is removed! (See FIGURE 15-19B, C, D, E.)

GLUING THE LACE It is preferable that the makeup be complete and powdered before the wig is glued to the face.

The first step is to observe where the lace sits on the face. The object is to keep the spirit gum in the area of the netting, not in the hairline of the wig or of the actor. Starting at the center of the forehead, gently lift the netting and apply a quarter-inch wide brush stroke of glue to the skin below. Release the netting making sure that it still sits flat to the head. Do not press the netting into the glue at this time. Move on to one of the sides. Lift the netting, apply the glue to the skin, then release the netting. Repeat this process on the other side.

Take a small piece of chamois cloth or fresh powder puff and start in the center front of the lace, gently pressing the lace into the spirit gum. Repeat this process on both sides of the wig. Using the cloth or puff allows the netting to adhere to the spirit gum, cuts the shine of the spirit gum, and keeps the gum off your fingers! Throw the cloth or puff away once it is full of dried spirit gum. When working with high definition digital media, wig lace can be problematic. Allow time to test glues for shine on camera. The lace on the front of the wig may need to be trimmed. Also, using an airbrush to add a light spatter to blend the lace with the surrounding skin may be necessary.

Removing the Wig

Removing the wig is the exact reverse process of putting on the wig. You will need the following tools:

Spirit-gum remover or 99% isopropyl alcohol

Tissues

Cotton balls

Q-tips

A medium size hair pin

A brush

If you have a lace front wig that has been glued to the face, you must start by loosening or removing the spirit-gum. First, dampen a cotton ball with spirit-gum remover or alcohol. Make sure it is wet, but not dripping. It is recommended that you keep tissues close by, as you do not want any remover to fall into the eyes of the actor. Gently press the cotton ball with remover onto the lace at the glue line.

Once the spirit gum begins to dissolve, take a medium size hair pin or Q-tip soaked in remover and carefully slide it under the lace. When sliding a hair pin under the lace, move it in the direction that the hair naturally grows, then gently separate the lace from the skin.

Now remove the anchor pins from the wig to release it from the head. Lift the wig up and away from the head and carefully place it on the wig block. Remove the pins from the wig cap. Put the wig cap where it will be washed or keep it with the wig to be used again. Take out the pin curls and brush out the hair.

Learning how to design hairstyles and dress and care for wigs is an important part of the makeup process. If you also know how to construct wigs, you are in an advantageous position. In the professional theater, actors are not usually expected to design or to dress their own wigs. In the nonprofessional theater, however, both actors and makeup artists may sometimes be expected to do both. A thorough knowledge of the techniques involved with hair design and construction for both natural and synthetic wigs will not only contribute greatly to the effectiveness of the makeup but will positively affect the quality of the entire production.