Breaking Down ‘Bridgerton’s’ Most Over-the-Top Wig Creations

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In the world of “The Ton” on Bridgerton, hair and makeup designer Erika Ökvist likens each new season to Paris Fashion Week. She explains that no one would dare wear something from the previous season. They crave the latest trends as a form of armor they display to the world. However, there’s an additional, more personal motivation behind the styling choices made by Ökvist and her team: The characters are in a hurry to get married, as if they have a practical urgency towards it.

In the third season, it was Lady Whistledown herself, Penelope Featherington (played by Nicola Coughlan), who chose to reinvent herself into an appealing suitor. Ökvist describes this transformation as a gradual blooming over the course of the season, drawing inspiration from iconic Hollywood figures like Rita Hayworth, Marilyn Monroe, and even Jessica Rabbit. The development of Penelope’s character was a demanding task that required constant attention. “We designed 47 distinct looks for Penelope’s hair and makeup,” Ökvist explains. To maintain consistency, seven custom wigs were prepared, each requiring approximately two days to style. Due to the complexity of these wigs and the show’s tight schedule, it was crucial to keep them the same when filming out of sequence. “If we shoot the interior of a scene in week one and then the exterior in week six,” Ökvist says, “I can’t afford, time-wise, to restyle the wig. And because they’re so intricate, I might forget a step, which would be disastrous for a visually-focused series like Bridgerton.

Similar to past seasons, it’s once again Queen Charlotte (Golda Rosheuvel) who dons the most daring costumes. The remarkable wigs are designed atop lightweight aluminum frames; despite their lightness, they still pose some mobility issues for Rosheuvel. Ökvist remarks, “She’s developed a marvelous way of moving.” Once Rigby, the hair and makeup artist, fastens the wig, Rosheuvel can’t rotate her head, so she swivels her entire body instead. This movement is incredibly regal, almost divine, as if she’s a deity herself. Although the Queen’s wigs are artistic marvels, they owe their existence to Rosheuvel. As Ökvist puts it, “The Queen needed to begin with Golda, so all of the wigs have natural, textured hair around the hairline.

The highlight of season three was an ingenious prop featuring mobile swans within a wig-shaped structure hollowed out for the queen. Designer John Glaser and Ökvist worked together on this concept, with Glaser designing a dress that incorporated the wig and hid the necessary wiring and battery pack within secret panels. As these components could get quite hot, they had to be kept away from the actress’s body. After refining the idea for two years, it was time for a test run. Everyone involved, including Golda (the actress), the cinematographer, and the director, all appreciated it. However, the sound technician suggested that it was too noisy, so they had to disassemble it and soundproof the dance floor of the swan mobile.

Regarding the technical details, Ökvist seldom adheres strictly to historical accuracy when it comes to the time period portrayed on her show. Instead, she describes it as a Regency-inspired version of history, more like a cousin than a sister to the real era. In season one, some viewers may have raised questions and sought clarification, but now they seem to accept this world as a distinct universe, similar to how audiences embrace the realm in Game of Thrones. This flexibility allows Ökvist to incorporate elements of the extraordinary, such as Cressida Cowper’s character, a spoiled noblewoman who wore an elaborate bird cage wig adorned with a chain and a key in one episode.

One of Ökvist’s challenging duties involves preventing characters from inadvertently overshadowing each other, ensuring there’s no duplication. “Occasionally,” she explains, “even though a concept seems fantastic, I have to say ‘No, this is the expression Penelope should have; you can’t use it.’ Directing can be tough — and also maintaining the excitement of the person who thought up the idea, as coming up with new ideas is exhilarating.” In truth, Ökvist notes that there are more creative hairstyles left unseen on the cutting room floor than those that make it to the screen. “In the end,” she says, “being a makeup and hair artist is like constructing sandcastles. It may vanish into the sea without being noticed, but what matters is that when you create it, you are content.

Originally published in a special edition of The Hollywood Reporter magazine in May, you can get it by clicking here to subscribe.

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2025-05-29 21:26