“The aim was to create something femme fatale – like Marilyn Monroe’s hair after she’s been rolling in bed,” says hairstylist Christian Eberhard.
Instead of cutting Taylor-Joy’s mermaid lengths, Eberhard worked with a wig to create the look, loosely styling it the night before the shoot to create the shape. “The idea was to do the opposite of styling,” says Eberhard. “All the teasing was done by hand, no brushes, to create shape and texture – the whole idea was that Anya’s movements should create a lived-in look. We didn’t want it to look like a ‘precious’ hairstyle for an haute couture photoshoot.
“When we started the shoot, I couldn’t be sure that she would like it – which was important because she had to become the character,” he says. “But she tried [the wig] on and really loved it – she embodied that person with the hair. It was a brilliant match.”
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