So, the other day I’m at the Ted Gibson Salon and stylist Adam Markarian (pictured, left) showed me a pic of the above W magazine worthy hair art (it’s art.) whilst blow-drying my autumnal princess highlights. I thought to myself, self? BBJ readers need to see THIS. So I insisted that Adam send me the details and pics stat, which he did! He emailed me this detailed explanation of how this avant garde look was created with his partner Harmonie Redman (pictured below). It’s super crazy how they transformed hair into FABRIC. Can you tell that Adam originally went to art school to be a metal sculptor? Read on on for how they did it. It’s long, I warn you. But I think you’ll find the process interesting.
First, we purchased platinum blond wefts, 18 inches long. We colored the wefts in variations of coffee brown, deep red, and moss green, while keeping a few of the wefts platinum blond, allowing for the highlights to gently peek through the rest of the color. Once the wefts were colored, we sewed them together in alternating layers. Alternating colors allows for seamlessness, making sure that we didn’t use too much of one color but rather variations of them all. Each piece contained a total of 11 wefts which is why they look so thick.
We started with layers of Infinium 2 and a blow dryer, keeping the pressure from the blow dryer light and blown down the hair shaft while we layered hairspray and blew it dry without touching the hair. Since the hair is brushed perfectly, there is no reason to touch it. You want the hair to set with hairspray and touching it too much will break up the outer shell you are trying to build around the hair [Ed. note: Like an insect’s exoskeleton!]. Layers of Infinium 2 and 4 were set for hours as we stood above wearing masks to protect from the fumes. On each piece, we used a total of 12-15 cans of hairspray.
Once each weft was completely solid (about 8 hours per piece), it could be handled as a solid sheet of hair. We were now dealing with a fabric. We rubber-banded the ends of the weft and sewed chicken wire to the weft at the top, where the wefts are sewn together. The chicken wire acts as re-enforcement inside the shape. The ends were then sewn to the wefts and our shape was constructed. The exciting part of working on projects like this is you get to use materials that reach beyond your typical hair equipment. If you were to look into our kits, it would look like a mix between a haberdashery and a hardware store.
CONSTRUCTION OF PIECES TO MODELS HEAD (ON SET DAY OF SHOOT):
The models hair was put up in the shape of a “conehead.” The aerodynamic shape serves as a base and is what the pieces will be sewn and pinned to. To achieve the cone shape, we started with a ponytail at her crown and applied two large mesh donuts around it. We wrapped her hair around the mesh donuts and rubber-banded at the top. Each piece was then sewn or pinned to her head, using the donuts inside of her “cone” as a base to sew and pin into. We sculpted the pieces to our desired shape and shot. We went for two looks and used a total of six pieces to gain the looks. Each piece varied in shape and size.
So maybe it’s not a DIY ‘do… but it’s pretty cool, right? LMK what you think in the comments.
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