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en Sean Flanigan joined The Gilded Age because the hairstyling division head in its first season, he drew inspiration instantly from the real-life, late nineteenth century New York figures that influenced the HBO interval drama, like Caroline Astor (Donna Murphy) and Alva Vanderbilt, after whom Carrie Coon’s character, Bertha Russell, is original.
“We follow the lead of the writers as a guideline of where to go and then as we research, we can play around with it,” says Flanigan. “It’s such a pretty, romantic period. There’s lots of history and very elaborate sorts of hairstyles that were designed.”
Flanigan chatted with THR about what it takes to re-create these historic seems to be (trace: a number of wigs) and giving every feminine castmember her personal signature type.
Going into season two, was there something you wished to modify up?
It’s onerous as a result of, traditionally, the kinds are established, so we’re type of pigeonholed into a particular search for this era. We’re probably not going to the fantasy facet. That’s the place Bridgerton falls in — and their work is gorgeous. They’re extra taking part in round with kinds and elaborate theatrical seems to be. We’re attempting to maintain it extra pure and in the best interval.
The Russells have a definite look from the opposite rich households. How did you resolve the path?
We’ve designed new cash and previous cash to have a unique really feel. Carrie’s way more glossy, so I took some nods from different durations and twisted it a bit to offer it somewhat extra polish. Then you might have Agnes van Rhijn [Christine Baranski] and that facet who’s previous cash they usually’re very conventional however nonetheless enjoyable and styled.
There’s a notable distinction between Agnes and her sister, Ada Brook (Cynthia Nixon), too.
Agnes is the one who had the cash, so she received styled somewhat bit extra. Ada was way more easy, so we stored her very traditional, as a result of she’s the spinster — or was. In season two, clearly, there was the marriage, however she married a minister, so we nonetheless stored it very clear and easy.
Ada unexpectedly comes into some cash within the season-two finale. Will that play into her styling going ahead?
I can’t say something! We’re prepping now really, and we begin filming July 8.
How a lot does capturing in New York in the summertime have an effect on you?
It may be brutal. We shoot in Troy and Albany. Final summer time we had been up there, and it was sizzling. Poor Denée Benton [Peggy Scott]. She was sweating like loopy in the future as a result of she was on this corset and sporting wool and one of many administrators was calling me saying, “Sean, she’s sweating, she’s dripping! I’m like, “What do you want me to do?” (Laughs.)
Are there any particular concerns with a few of your stars, like Nixon and now Coon, being on two reveals on the identical time?
No, as a result of they’re all in wigs to allow them to do no matter they need on their different reveals. We needed to have wigs as a result of the interval requires such lengthy hair. Ladies had actually lengthy hair then, they usually nonetheless added items on high of it. Most girls immediately don’t have the size of hair this era requires.
What number of wigs are you creating every season?
Each time you see a girl on digital camera, there’s a wig, even my visitor forged. Chances are you’ll get an actress that’ll are available in for one episode and we’ll need to wig her as a result of they only don’t have the hair. I’m always chasing after wigs and pulling from my inventory and working to the outlets that construct wigs. I hire from them typically, they usually’ll ship me a dozen wigs and I’ll strive all of them on one lady to see which one matches, after which we now have to tweak and alter.
Does anybody take longer within the chair than others?
We’ve received it right down to a science as a result of we’ve been doing it for some time now. Often, the actress will are available in and we prep their hair below wig caps after which ship them to make-up. They arrive again after which we put the wigs on and everybody’s like, “Oh my gosh, it’s so easy.” This era’s onerous, although, as a result of you may’t pre-style the wigs an excessive amount of as a result of the edges have to be so tight. Marian Brook’s [Louisa Jacobson] hair, as an illustration, may be very glossy. To do this, I can’t put the wig on [a mannequin] and have it able to go. I’ve to type it on her and easy and tighten. I can get Kelli O’Hara [Aurora Fane] and Christine accomplished in half-hour now. Continuity, having to recollect what we did and match it at any time, is the actual drawback.
There’s a giant delineation between the upstairs and downstairs forged. How do you method that from a styling perspective?
All these ladies are wigged as nicely, however we don’t overstyle them. There’ll be a French twist, a knot or a bun, however that’s so far as we go along with them as a result of they’d be doing their very own hair they usually’re working. We stored Mrs. Bauer [Kristine Nielsen] somewhat frizzy as a result of she’s a cook dinner.
Any distinctive hair challenges?
Final season, one of many ladies that received forged had locs, which made a wig not possible. So we reduce the wig down the again heart, put it on her, after which pulled her locs up by means of the center of the wig and piled them into the form we wished the bun to be. Then, utilizing her hair as the bottom padding, we laid down extra wig hair on high and styled over it. There are issues you are able to do, however it’s difficult. I like the problem of getting to suppose exterior the field.
You’ve accomplished a whole lot of interval work. What do you like about this time?
This era is a lot enjoyable as a result of it’s a must to do the analysis, and there’s a lot wig work occurring … It’s so humorous to see Christine or Kelli or Denée of their sweatpants and their sun shades with their wigs on [before we shoot], however then whenever you see them get into the robes and onto the set, it’s simply, oh my gosh, it’s magical.
This story first appeared in a June standalone problem of The Hollywood Reporter journal. Click on right here to subscribe.
