Wigs are an important part of
costuming in
theatre. Wigs are frequently necessary to achieve the correct
hair style for a particular historical period, for both male and female characters. Contemporary costumes can also be enhanced with the use of a well-dressed wig.
Many theatrical-costume supply houses rent period wigs. These wigs can also be made in the shop using synthetic hair such as horsehair rayon or dynel. Wig making is not an easy task. It is a difficult craft that requires a large amount of patience and a lot of practice. Restyling of contemporary wigs can often produce excellent period wigs.
Long-haired wigs, preferably of real human hair, but synthetic also work, can be bought at local wig shops and styled to achieve most looks required for productions.
Wigs are usually made with an overabundance of hair. For a natural, less “wiggy” look the wig stylist removes about a third of the hair from a commercially made wig. This hair is used to ventilate a piece of netting attached to the front of the wig foundation. Ventilating is a method in which hair is tied to the foundation of a wig and is similar to the technique used to hook rugs. It creates a more realistic hairline.
A wig stylist generally works under the supervision of the costume designer and consults the costume designer’s sketches to determine the designer’s concept for the styling of the hair. Primary source materials, such as paintings, photos, and so on from the period, will also need to be consulted for additional information on the look and style of the hair in the period being used.
Wigs made of human-hair can be coifed with conventional curlers, electric rollers, or curling irons. Wigs made of synthetic materials can be dressed by rolling the hair on a cold curling iron, or cold rollers and gently heating the hair with the warm air from a hair dryer.
Hair pieces, or extensions, also provide another way of creating a period hair style that uses the actor’s natural hair, and hairline, as the basis of the design.
Wig dressing is an exacting craft and should only be attempted under the supervision of someone with experience in the field.
Source:
Gillette, J. Michael. Theatrical Design and Production. 4th ed. Mountain View: Mayfield, 1999.