The Wonderful World of Wicked’s Hair Design: An Exclusive Conversation with award-winning hair artist, Frances Hannon 

Behind the scenes with the creative force who gave each corner of Oz its own hair identity in this year’s most-discussed film 

by CAITLYN | CONVERSATIONS

From 4 AM call times to managing teams of over 100 artists, the scale of Wicked‘s production required military-like precision combined with creative innovation. “We had roughly 300 crowd in the chair, as well as 80 plus principals on set at a given time,” Frances explains. “The main actors, like Cynthia and Ariana, would often be in the chair at 5 AM, which means your artists are there at 4:30 to be ready and set up for them.” 

But such a massive undertaking doesn’t materialise overnight. Let’s go back to the beginning of the story, before the magic of Oz came to life, before the first wig was styled or character was designed. 

 “When Wicked came out, I took my two daughters to see it several times because they adored it,” she shares. “I loved the theatre production, and The Wizard of Oz was such a part of my world growing up. So, when Jon [Chu] chose me, I felt incredibly lucky.” 

This personal passion shaped Frances’ approach, but collaboration was key. Working closely with costume designer Paul Tazewell and director Jon M. Chu, she developed distinct visual identities for every corner of Oz. “We weren’t tied to anything,” Frances explains. “Jon and Marc [Platt, producer] were wonderful collaborators and allowed me to bring all my ideas to the table.” 

The process began with the principal characters. An early test with Cynthia Erivo revealed a critical insight for Elphaba. “We had the green ready, but the original hair colour didn’t work. It was immediately clear that it needed adjustment,” she recalls. 

As Elphaba grows in her power, her hair evolves subtly. “We made her hair longer, darker, and slightly wilder to reflect her strength,” Frances adds. These changes had to work in harmony with the rest of her design. “With the dark hat and high-necked black costumes, it was important to keep her face clear so the audience could always read her emotions.” 

For Munchkinland, the aesthetic was textured and colourful. “It’s an agricultural region — their hands are stained with tulip dye, and their hair reflects that working life,” Frances explains. “We went for reds of a million shades and simple styles as if they’d done it themselves under their hats.” These choices weren’t just aesthetic – they helped identify Munchkins even when they appeared in other settings. “You had to be able to distinguish them in any room, like in the Shiz University, or Ozdust Ballroom.” 

Emerald City, in contrast, was sleek and extravagant. “It had to feel sophisticated, architectural and controlled,” Frances says. “We mirrored that in the hair, beards and facial hair, drawing inspiration from shapes in architecture and nature.” 

Even smaller details were meticulously considered, like the beauticians in the Emerald City nail salon. “They only had two types of coloured hair,” Frances reveals. “I used that kind of uniformity in several areas to create visual cohesion.” 

For Winkie Country, the palette was cooler and more polished. “It’s all blues and darker, cared-for hair,” Frances says, while the Uplands, Glinda’s homeland, were inspired by Scandinavian tones. “We kept it blonde and fairer, reflecting that softer, lighter palette.” 

The ambitious scale of Wicked demanded technical mastery. “Wigs were the backbone of the film,” Frances explains. “We baked hundreds of wigs overnight in industrial ovens to ensure they held their shapes throughout 12-hour days of dancing, singing and stunts.” 

For Elphaba’s character, those micro braids became a cornerstone of her look. “We plaited them directly into the wig to add structure and control. It was labour-intensive but worth it because the braids held beautifully while giving us that raw, textured edge we wanted.” 

Glinda’s hair, in contrast, required a delicate touch. Frances relied heavily on steam-heated rollers and tonging to create soft, sculptural waves. “Her hair had to look light and romantic but still hold its shape. We used very lightweight products to keep the texture alive without weighing it dow.” 

Durability was a constant focus, especially for Elphaba and Glinda. “You can’t have hair falling apart halfway through a scene,” Frances notes. The solution came in the form of hand-tied, layered pieces and strategically hidden micro braids that locked styles into place without sacrificing movement or realism. “We had to think about every action the actors would take — from running to spinning to cartwheeling — and prepare for it.” 

From intricate braiding to maintaining durability for high-energy choreography, the sheer scope of the project demanded nothing less than perfection. 

In stark contrast, Emerald City’s sleek and sculptural looks required meticulous styling and polishing. “It was architectural in its detail,” Frances explains. Beards and facial hair were just as carefully considered. “Everything was about control and sophistication — from the angles of the hairlines to the way curls were set and positioned.” 

Frances’s team had to be concerned with more than just human hair, including the hair on Fiyero’s horse. “We shaved and dyed the horses’ manes and tails with a Japanese product that had been rigorously tested for safety,” she reveals. To enhance the look, they added blue-dyed hair extensions, adjusting the direction of the manes to ensure a uniform visual flow on screen. “It’s the kind of detail most people won’t notice, but it all contributes to the film’s overall aesthetic.” 

Above all, Frances encourages young artists to stay curious and committed to their craft. “Learn as much as you can, take every opportunity to practice, and never stop trying.” 

Additional Credits:

Principal Key Make-up and Hair artist- Sarah Nuth

Key Hair and Make-up- Johanna Neilsen

Crowd Supervisor- Laura Blount

Make-up artist to Elphaba- Alice Jones

Hair stylist to Elphaba- Sim Camps

Make-up Artist to Galinda- Nuria Mbonio

Hair stylist to Galinda-Gabor Kerekes

Make-up artist to Jeff Goldblum-Vicky Lange

Make-up artist to Jonathan Bailey- Lara Prentice.

“Going Grey Is Fine If A Client Suits Grey Hair, But They Are The Exception”

Salon owner Gustav Fouche discusses the pros and cons of clients transitioning to grey and why ‘growing old gracefully’ isn’t the same for everyone

by KELSEY | CONVERSATIONS

“More and more, I see other hairdressers suggesting clients transition to grey but that massively impacts business. All of a sudden, clients think, ‘Oh, we can just leave our hair.’ It encourages them to leave the salon and do nothing with their hair going forward. The result? You have regulars who used to visit every six weeks now no longer visiting at all.”

“A lot of people discuss growing old gracefully, but what does that even mean? It’s each person’s individual wants and needs. For my clients, I encourage them to be outrageous. I love outrageous. Let’s shock the people. When people walk in the street, let them look at us, be quirky and bring out all your uniqueness. That’s what I love. If your uniqueness is to be very Chanel, then that’s fine. And if your uniqueness is to be very Alexander McQueen, then that is also okay. But let’s bring some personality, whatever level of scale that is, let’s encourage clients to show it in their looks, whatever their age.”

“A lot of people discuss growing old gracefully, but what does that even mean? It’s each person’s individual wants and needs.”

Gustav with his client June

Gustav’s salon