"I’m two years older than Stephanie, so we’re very close and as kids we used to joke that we knew how to be redheads because we were so into beauty products. “We felt like there wasn’t an outlet for women to go to and feel like they’re trendy and beautiful, and get really great advice," Adrienne tells us. So, in 2011, these sisters decided to change that. Finding makeup that complements her often fair, freckled, and sensitive skin, as well as her strawberry to copper-hued tresses, is not an easy task. As these women prove, the redhead is almost always the most striking woman in the room, yet the beauty industry doesn't typically cater to her. I want to make them smell just by looking at them,’ which is something that hasn’t been done for any film of that period.It’s been an exciting few years for redheads: The gorgeous Julianne Moore won her first Oscar for Still Alice, Joan Holloway made her grand exit on the finale of Mad Men, and the Titian-haired sisters Adrienne Vendetti Hodges (pictured left) and Stephanie Vendetti (right), founders of the website How to Be A Redhead, nabbed a book deal of the same name. ![]() I spoke to the director and said, ‘These people smell disgusting. It’s an 18th-century period production with massive wigs-one of the wigs I’ve already got hold of is 1.3m high! But I don’t want to approach it in a way that’s been done before. I’m opening myself up to a big can of worms-I do love a challenge. “I’m doing something next year that I’ve always wanted to do. We removed the powder so that the shine came through and it just looks wrong, so you know she’s not well.” Is there anything you haven’t done in your career that you’ve always dreamed of doing? And the great thing about working like that is when Beth was supposed to look like shit, we just took off the makeup. It’s perfection without being overly made-up. It’s a wonderful era-the powdered look, the eyeliner, the lips, the blusher that’s put on really beautifully. You also have Rita Hayworth and Lauren Bacall, and the sleekness and beauty of Grace Kelly. “The main inspiration behind Beth’s hair was actress Natalie Wood. And, of course, they were all wigs, so it is slightly different.”Ĭourtesy Netflix What about Beth’s beauty looks? Where did the inspiration for her makeup come from? If you want it to look right, you have to use the tools of the period. It was done with hot rollers and overnight setting. All of the hair that was done for The Queen’s Gambit was done in a period way. You’ve got to have somebody who understands hair and what you want to do with it. If you get the cut wrong, you’re not going to be able to achieve it. “You need a wonderful haircut first and foremost. I wanted to make it worse, but I wasn’t allowed to-none of the mothers would allow it.” How would a Vogue reader go about recreating grown-up Beth’s hairstyle? That hideous little haircut that all the orphans were given. It wasn’t popular, but it was so effective and tells a story just by itself. I had to fight tooth and nail for that micro-fringe. ![]() It’s about growing up, about a poor little girl who loses her mother and the first thing that happens to her is that she’s defrocked and her hair is chopped off. As do the costumes, which were beautiful. Sometimes, you have to fight for these things.Ĭourtesy Netflix Was there a particular message you wanted to convey about Beth’s character through the language of hair? There was the micro-fringe when she was at the orphanage, then the cascading curls as she became a woman. The funny thing is that when I met the director, Scott, and said, ‘There is one thing: I think she should be a redhead.’ He said, ‘Absolutely, I agree.’ Then I met Anya and I said, ‘What do you think about Beth being a redhead?’ And she said, ‘What do you mean? Of course she’s a redhead.’ It was quite unusual. ![]() ![]() Why was it important to make that change? It’s a whole process, especially as the series spans so much time.” In the book, Beth has brown hair, but in the series she is a redhead. If that’s wrong, if it doesn’t move forward correctly, then it won’t work. It’s the makeup and hair that you see in all the close ups. They have to age her to show her becoming more mature her becoming an alcoholic drug addict. The makeup and hair had to tell that story. She goes from being baby Beth to grown-up Beth. The challenge these days is to also keep everything real and not tampered with in any way by computer work, so you’ve actually got something that looks real.” How important are Beth’s looks to the show’s plot? The biggest challenge is to produce something that achieves what the script demands, mixed with the director’s vision and my own vision. “I read the scripts, then I have an image in my mind, and I start working on that. Courtesy Netflix When approaching a project such as The Queen’s Gambit, where do you start and what’s the biggest challenge?
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