Dressed head-to-toe in the Gucci logo (jacket, pants, socks), polished with signature pony-soled shoes, hairstylist Frederic Aspiras donned the look for a screening of Ridley’s MGM movie Scott Gucci house at The London West Hollywood in Beverly Hills on Monday, November 29.
As Lady Gaga’s personal hairdresser and wig designer since 2009, he was also the man behind her 55-plus-year-old on-screen brunette look as Patrizia Gucci in the film, which ran from 1972 to 2005. 1997. His work included creating 10 custom wigs.
“I don’t want to see Lady Gaga on that screen,” was the main piece of advice the singer-actress gave him, which Aspiras took to heart during the five-month project.
“This movie is, to me, a love letter to my mother,” Aspiras said The Hollywood Reporter at the movie show. “My mother has Alzheimer’s disease and is a hairdresser. I’ve been to her salon where I was taught how to do my hair as a child, and here I am Gucci house movie! Six months before the filming date, she passed away. And I don’t want to do my hair anymore. But my group Haus of Gaga has allowed me to use my creativity to work through the pain and show how much I love her. Because when I watch the movie again, every hairstyle reminds me of her. I took that sadness and used it to help me continue her story. I want to remember that she was a part of it, that she taught me that. ”
Regarding the specifics of what his mother taught him, Aspiras shared: “Going back to the technique, the most valuable thing I learned from her was the basic hair styling techniques, which I used. In the movie. In the 70s, I did steamy sets. In the 80’s, I did a spiral curl. In the ’90s, I did blow-off – according to the T. Precision technique, the exact type of product. ”
For a steamy look, Aspiras treated Gaga’s hair with JOICO K-Pak Color Therapy LusterLock and JoiGel Medium Styling Gel before curling her hair. After the roller is removed, a few drops of JOICO Colorful Glow Beyond Anti-Fade Serum is used with Aspiras to manually break the curls before brushing; Hair is then styled with JoiMist Firm Protective Finishing Spray. Later in the movie, wet spiral curls are parted and finger-twisted; JoiWhip Design Foam was then distributed all over and dried with an attached diffuser. An ’80s look for volume before setting with Joico Flip Turn Hairspray. And JOICO’s hair color safely took Gaga from platinum blonde to Gucci brown.
Aspiras noted that he prepared a 450-page bibliography of hair looks from the script that went down in history. Research includes interviews with Italian women, conversations with locals who know Patrizia, watching relevant documentaries of the 70s and getting to know Italian actress Gina Lollobrigida.
“For my work, it’s been about being able to use the hair as a tool for the actress to really get into the mind of this person, who she’s portraying,” Aspiras said. “So I had to be as authentic as possible using the exact techniques of a 1970s hairdresser – wet curls, backcombing, French hem, spiral curls. I want texture. I want to have the vibe. I want the way it moves. Exactly how it feels. Because it’s necessary to get you to that point. This is about 25 years of a human’s life… If you watched our glam trailer, that was like CSI. Floor to ceiling mood board. ”
As a newcomer on set, he also pushed the limits. “Ridley Scott is a veteran, and he really only wanted two hairstyles for the whole movie, because he wanted to make editing that easy,” says Aspiras. “But I said, ‘No. I’ll show you.’ I spent five months. And he didn’t talk to me once on set, because I was a kid. But I showed him. I did a 450 page bibliography of hair looks. For each script page, I said, ‘This is how the map works.’ I did all the hairstyles, so when I started that, it was like ‘Boom! Come on. ‘”
That translates into 4-5 hours of prepping Gaga’s hair every morning, compared to the six hours it takes each day to transform and age Jared Leto into Gucci heiress Paolo Gucci (designer Göran Lundström used much of it. item includes cap and wig ) – an ongoing comparison that Aspiras made to keep them going when the alarm clock went off at 4 a.m.
“We color every strand of hair, every wig, to make you feel like she’s gone from ragged to rich,” says Aspiras. “It’s just a kind of dedication. Continuity is important, because directors don’t shoot everything from start to finish. They film from the middle of the movie to the end of the movie. So I have to do it with products that don’t mess up. These wigs alone cost $10,000! ”