By now, you might have seen the OPENING CEREMONY & MAGRITTE collection, where OC took 12 of René Magritte's most iconic images—like The Lovers, The King's Museum, and Sheherazade—and created an over 30-piece collection that invites frequent return visits. In fact, we've turned the first floor of our flagship New York store into a type of art exhibition unto itself, with a front-and-center mannequin brigade displaying some of our favorite looks. To top it off, the mannequins are decked in insanely cool hair.
The gurus behind the hair project are Bumble & bumble stylists Mischa G and Edward Lampley, who created a whopping 22 crazy 'dos in under two weeks (it took about four hours to finish just one). Below, Mischa dishes on the whole nitty-gritty, gilded process, and for the daredevils-slash-dreamers among us, how to recreate the look at home.
The gurus behind the hair project are Bumble & bumble stylists Mischa G and Edward Lampley, who created a whopping 22 crazy 'dos in under two weeks (it took about four hours to finish just one). Below, Mischa dishes on the whole nitty-gritty, gilded process, and for the daredevils-slash-dreamers among us, how to recreate the look at home.
The Inspiration:
"Heather Neuburger, OC's Visual Director, came to me and hair stylist Edward Lampley with this project. She talked about finding inspiration in the work of French hairdresser Julien d'Ys—certainly one of the most incredible, artistic hair stylists around. We wanted to be inspired by his work, and then make our hair even more surreal, with a kind of twisted fantasy to match the collection."
The Aesthetic:
"Essentially, we wanted the hair to look windblown and frozen, weird and wild. We decided to choose accent colors from the clothing collection, like pinks from the Hegel's Holiday Crewneck sweater and blondes from the Sheherazade Sleeveless Flare Dress. We also had different running themes for all the wigs. For example, the yellow wig I made to resemble a face cage, or armor-like hair."
The Process:
"Edward and I started talking, and the first thing we decided to do was use a gel medium from our favorite art store (the gel starts off as whitish, and then dries into a clear shine), to create that stiff, frozen, cartoony/anime look on synthetic Cosplay wigs—platinum blondes and jet-black ones. Then, we mixed in drops of acrylic paint (for example, pinks and yellows for the blonde wig), and set them all up on different wig heads, spraying them down with water to soften them a bit. We used paintbrushes to saturate the wigs directly with the mixture, section by section. Then, we clipped various pieces into swirls and curls. To get the perfect S-curve curl, we set the gel into little pin curls, then diffused the hair to sort of freeze it into place before removing the pin curls. We did a
"Heather Neuburger, OC's Visual Director, came to me and hair stylist Edward Lampley with this project. She talked about finding inspiration in the work of French hairdresser Julien d'Ys—certainly one of the most incredible, artistic hair stylists around. We wanted to be inspired by his work, and then make our hair even more surreal, with a kind of twisted fantasy to match the collection."
The Aesthetic:
"Essentially, we wanted the hair to look windblown and frozen, weird and wild. We decided to choose accent colors from the clothing collection, like pinks from the Hegel's Holiday Crewneck sweater and blondes from the Sheherazade Sleeveless Flare Dress. We also had different running themes for all the wigs. For example, the yellow wig I made to resemble a face cage, or armor-like hair."
The Process:
"Edward and I started talking, and the first thing we decided to do was use a gel medium from our favorite art store (the gel starts off as whitish, and then dries into a clear shine), to create that stiff, frozen, cartoony/anime look on synthetic Cosplay wigs—platinum blondes and jet-black ones. Then, we mixed in drops of acrylic paint (for example, pinks and yellows for the blonde wig), and set them all up on different wig heads, spraying them down with water to soften them a bit. We used paintbrushes to saturate the wigs directly with the mixture, section by section. Then, we clipped various pieces into swirls and curls. To get the perfect S-curve curl, we set the gel into little pin curls, then diffused the hair to sort of freeze it into place before removing the pin curls. We did a