Bridgerton’s Season 2 wigs aren’t just architectural marvels, but a representative win-Entertainment News, Firstpost
Bridgerton Season 2 wigs make a statement about Queen Charlotte’s multiracial origins with dreadlocks, cornrows, braids and the different textures of black hair they represent.
Queen Charlotte in Bridgerton Season 2
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There’s something fantastic about cotton candy, the way the pink cloud of spun sugar appears almost out of thin air, like magic. Shondaland’s Regency-era slow-burn romance Bridgerton Season 2 is quite a feast for the eyes, but Queen Charlotte’s hair is all kinds of magical cotton candy. It’s a nice coincidence that in Bangla, cotton candy is called “chul burir“, that is, the hair of an old woman.
The “old woman” in question, queen of the ton, rules the roost with her jaw-dropping wigs.
Each headdress is a towering marvel, scalloped, bejeweled and intricately textured. The wigs are central to her character, designed to make sure everyone knows who’s in charge.
Queen Charlotte (played by Golda Rosheuvel) is never seen without it, even at home reading the gossip or playing with her Corgis. And God forbid, she never repeats a wig.
This attention to hair was the vision of the creators of the series and Marc Pilcher, head of hair and makeup for the show, which won an Emmy Award for Season 1. Pilcher tragically died of COVID-19 in October 2021, and the Season 2 premiere is dedicated to him. Season 2 lead hairstylist and makeup artist Erika Ökvist and her team have continued to build on the vision to create incredible headpieces for Queen Charlotte this season.
Ökvist points out that they worked on the “the incredible hair journeys” of all the characters, and thought about the characteristic qualities of each that they could communicate through hair. Kate Sharma’s feisty braid, for example, is a nod to her Indian heritage, and as it unfolds on the story arc, so does her hair.
Of course, all pales in comparison to Queen Charlotte’s massive headdresses. The internet is abuzz with its wigs, ranked in style and impact. Netflix itself archived them, sorted by height. Some are clear favorites – the heart-shaped gray giant in which she chooses the diamond of the season. A more controlled version of a Afro studded with pearls, inspired by Beyoncé. A wedding cake shaded with a wig, worn at the doomed wedding. A macramé-inspired white, encircled with nets and jewels. A blue themed wig with peacock feathersalluding to Sharma’s color palette and India.
The wigs themselves, like Okvist revealed, are constructed like cages, with bristles on the outside but hollow on the inside to reduce the weight they would put on Rosheuvel’s neck. “It’s a matter of balance,” says Ökvist, “so you have to think about it architecturally.
Since the weight of the hair itself could cause the structure to collapse, designers should construct the piece differently depending on the shape, so that the weight of the hair is evenly distributed. Okvist says“If we wanted to make a wig that pulls up, we’d have to do hatching to accommodate the cross weight, so it wouldn’t fall off. It’s akin to how you build a bridge with keys of vault. Additionally, to accommodate embellishments, as the piece grows or widens, recesses are constructed – “hair caves” – into which the queen’s crown or tiaras can be nested.
From just two wigs in the original characterization of Queen Charlotte, the designers now have 25 wigs. Each piece is an architectural marvel, but what is also What’s interesting is that they make a statement about Queen Charlotte’s multiracial background with dreadlocks, cornrows, braids, and the different textures of black hair they represent. It was intentional, because Pilcher said in an interview“Well, I want to present the looks of his legacy, not just copy portraits of white people. There’s no color limit for Queen Charlotte either, abandoning all conventions of how “older women” should look and dress. “There’s no color she won’t wear!said Rosheuvel happily.
Wearing the wigs, however, must have been no easy task. (Even lesser headdresses have made ramp models weak backstage at Fashion Weeks.) Rosheuvel, who calls them “works of art”also talked about the physical challenges of balancing wigs, including how the original Beyonce-inspired afro from S1 caused her scalp to heat up alarmingly. She had to insert cold metal combs into the wigs to cool her scalp. “These combs saved my life.” she wrote on Instagramwith a behind-the-scenes photo of herself with the combs sticking out of the afro.
Ökvist and his team have made special efforts to reduce the weight of the wigs as much as possible, for example by sourcing the lightest yarn possible to create the cages. In reality, the crew created a special neck brace for her which attaches to the chair and supports Rosheuvel and her wigs when she sits down.
Heavy is the head that wears the crown, indeed. But oh, what a face. Glorious multiracial hair in the colors of the rainbow.
Bridgerton Season 2 is streaming on Netflix.
Manjima Bhattacharjya is the author of Model: women who work in India’s glamor industry [Zubaan, 2018] and intimate city [Zubaan, 2022].
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