Shōgun

Hair

Hair styles played an important role in 1600s Japanese society, indicating stature and hierarchy. In determining the look for each of the characters, Hair Designer Sanna Seppanen researched paintings, consulted with historical advisors and worked closely with a team of Japanese hair and wig experts.Traditional Japanese wig making involves hand tying the wig’s hair onto a metal cage and shaping it to the actor’s head. These traditional pieces are masterpieces but once styled, difficult to change. The characters in Shōgun encounter action, weather and water, and it was necessary to have the hair break down and look windswept or messy to reflect what the character was experiencing. Seppanen, in close consultation with esteemed Hollywood and Broadway wigmaker Robert Pickens, designed a new, hybrid wig headpiece, or cage, with light plastic. The hair was hand tied onto a lace foundation then wrapped to the plastic cage. This provided the freedom of letting out the mage (ponytails/top knots) for the men and to change intricate accessories and styles for the women. Perhaps more importantly, these newly designed, custom-made wig bases were more comfortable to wear, while still respecting traditional techniques.

A team of expert hair and wig technicians joined the production from their native Japan to work on the series. Artists included Mitsuyo “Michi” Takasaki, renowned for her hair and makeup work in Japanese film and theater. This team led bootcamps to teach the sizable hair department about Japanese combing and styling techniques as well as management of the 700 Japanese wigs that were brought in from Japan.The character of “Lady Ochiba” has the most regal and elegant hair, according to Seppanen. “As she grows in stature, her hair accessories become more ornate, making use of stunningly painted Japanese paper, ribbons and fabrics,” she explains. Seppanen collaborated with Costume Designer Carlos Rosario throughout the season. “There were beautiful pieces of Japanese fabric that were part of her costume that were turned inside-out to use as part of her hair accessories,” she says. “We added ornate cords and accessories to gather around her hair to give her a royal presence.” But it should be noted, it also meant her wig was exceptionally heavy.The hair department had fun designing the styles for the courtesans in the teahouse who were considered true artists – they would sing, play instruments, tell stories and entertain.&nbsp;

Makeup

The levels of hierarchy in Japan were on display in the appearance of every member of society – whether intentional or not. Hundreds of villagers, samurai, lords, ladies, koshōs, warriors and children – with their own looks based on their status – were brought to life by Shōgun’s Makeup department.Villagers and peasants exposed to the elements had more of a tanned, weathered complexion, while the lords and ladies of the palace had a paler complexion, lighter makeup and a more refined, groomed look.

Makeup Designer Rebecca Lee focused on an authentic makeup palette for the period, only using three main colors on the upper-class characters – white for the delicate porcelain tone of the skin, black for the eyes and red for the lips. During that era, as most cosmetics had to be found in the kitchen or garden, the red would have come from beni, the extract of the Japanese Safflower petals. “We were unable to find an exact match to reflect the very specific color derived from the petals,” explains Lee. “So, I created our own red tone, which can be seen on all the women of the palace.”The Makeup and Hair departments worked closely to create cohesive looks. Examples of this work are visible in the male samurai, villagers, lords and perhaps the most prevalent look: the nakazori (also known as sakayaki). This look consisted of shaving the head down the middle with the hair on the sides pulled up into a mage (pron. mag-é), which could be compared to a type of ponytail or topknot. While there were a few in the cast who chose to shave their heads, most needed to imitate the look that would keep a warrior’s head cool under their helmet. Often, hundreds of samurai had to get ready in the morning. Lee and Seppanen (Hair Designer) needed to process them efficiently while still being true to the period style, and have it look completely realistic through an ultra-high-definition camera.

The series’ Japanese technicians and advisors had the solution – the habutai. A special Japanese bald cap made of two pieces of very thin silk was attached with wax and cotton strips at the back. The Japanese makeup technicians taught the Makeup team the specialized and very specific process of applying the habutai. Lee then made a few modern adjustments and developed a “blender” piece that helped marry the silk to the forehead. Combining these new techniques for camera with the traditional application process, they were able to do a habutai in about 30 minutes versus two hours for a silicone or rubber bald cap.The character of “Mariko” has many different makeup looks. “When she is in the village of Ajiro, she is seen with a natural, almost no-makeup look,” says Lee. “At the palace, she wears a delicate pale powder to mimic rice powder, that is buffed into the skin. And then of course, we add that striking dark red lip.”As described by Lee, working with the Japanese cast and Japanese hair and makeup experts was an unforgettable experience. Consultation and work began during prep while the cast and consultants were still in Japan. “Sometimes we had big thematic questions for them and sometimes it was about a simple product. It was a true cultural exchange.”

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Hair styles played an important role in 1600s Japanese society, indicating stature and hierarchy.

Hair and Make-up | FX Shōgun