How ‘Station Eleven’s hair department created the perfect apocalyptic look

My biggest pet peeve in apocalyptic films and TV shows is when people’s hair looks too good. I can believe that society may have collapsed due to a despotic government, alien invasion, or a plague, but I draw the line at characters (mostly women) finding the time to flawlessly style their hair in such scenarios.

Thankfully, HBO Max’s new drama Station Eleven gets the post-apocalyptic look just right. Characters’ hairstyles are practical and lived-in. They look like they’ve been surviving for twenty years — not like they’ve just stepped off a high-fashion runway.

This realistic quality was important to Station Eleven hair department head Nani Casillas, who worked hard to make sure everyone’s hair looked natural given the show’s apocalyptic circumstances.

“Some people might think that doing natural hair is super easy, but it’s actually hard because you have to pay attention to the rhythm of the hair and how it’s behaving,” Casillas told Mashable in a phone interview. 

She and the hair department monitored hair lengths and oiliness throughout shooting in order to keep the looks consistent. The types of hair products — including 5-in-1 leave-in conditioners and texturizing powders — and the amount used varied depending on each actor’s unique hair texture. Aside from consistency, another challenge was realistically conveying the passage of time. To age characters across decades, Casillas worked with wig makers to create life-like wigs and extension pieces.

No salon trips in the apocalypse!
Credit: Ian Watson/HBO Max

Station Eleven characters’ hairstyles also depend on their lifestyles and their accessible resources. For example, the Traveling Symphony, a group of actors and musicians who perform at settlements around Lake Michigan, look very different from the survivors staying put at Severn Airport.

According to Casillas, the Traveling Symphony’s migratory lifestyle means that they don’t worry too much about their hair. However, Casillas didn’t want to make them look too distressed. “Something we discussed was that even though a good portion of the population was wiped out [by the pandemic], there were a lot of things left behind,” she said. “You could source things like soap or shampoos, but it would be few and far between.”

Meanwhile, people at Severn Airport have access to power and more resources, so they would be better coiffed. Characters like Clark (David Wilmot) and Elizabeth (Caitlin Fitzgerald) were sophisticated and stylish before the pandemic hit. So, they try to maintain that level of sophistication as best they can in their new lives.

Aside from being a good way of indicating what someone’s post-apocalyptic life is like, the hair in Station Eleven is also a great way of showcasing character, like with the evolution of Kirsten (played by Matilda Lawler then Mackenzie Davis).

“When Kirsten was younger, she was this little bright-eyed theater actress, and her hair was easy and manageable,” explained Casillas. “As you see the passage of time with her, she starts growing into this person who is much more of a survivor.”  

The hairstyle Casillas chose to represent Kirsten’s newfound identity as a survivalist was a braid, which would allow her to travel without worrying too much about her hair. Casillas also found the imagery of the braid compelling. “My thought with the braid was that it emulates a dagger: It has a very sharp point,” she said. Daggers are integral to Kirsten’s character. Her dagger tattoos remind her of how many people she’s killed. Also, she carries knives for protection, even on stage. Casillas emphasizes this more dangerous and protective side of Kirsten by cleverly incorporating it into her hairstyle.

To all the apocalyptic shows and films out there, take notes: This is how you do it.

Where Kirsten’s hairstyle mimics her intensity and survival skills, fellow Traveling Symphony member Alex’s (Philippine Velge) hair reflects her more carefree way of life. Alex is the only “post-pan” performer in the Symphony, meaning she was born after the pandemic and never experienced the past world. “Alex has no vision of what fashion or trends used to be,” said Casillas. “She was like a clean slate in terms of creativity.”

Casillas ended up giving Velge a freestyle haircut to capture Alex’s post-pandemic fashion sensibilities. “I just started freestyling it as I imagine [Alex] would have done it, and then she would see herself in the mirror and think, ‘Yeah, I think that’s good,'” Casillas said. “She just has this really beautiful inner idea of what beauty was. And that’s how we designed the hair.”

Each hairstyle was designed with Station Eleven‘s overall visual language in mind. Casillas drew inspiration from concept boards by production designer Ruth Ammon and costume designers Helen Huang and Austin Wittick in order to get a sense of the world. She, Huang, and Wittick worked together to come up with the kinds of futuristic, avant-garde headpieces members of the Traveling Symphony would wear during their theatrical performances. Finally, she coordinated with makeup department head Lisa Layman in order to establish just how dirty every character would be. The result of all this collaboration is a cohesive look across the whole show.

From Kirsten’s dagger braid to a host of carefully constructed wigs, Casillas and her team created hairstyles that truly look as if they belong in the apocalypse. They’re proof of natural wear and tear, but they also reveal the ways in which people manage to take care of themselves during difficult times. Crucially, they blend into Station Eleven‘s aesthetic and don’t remove us from its reality by looking overly stylish or sanitized. 

So, to all the apocalyptic shows and films out there, take notes: This is how you do it.

Station Eleven is now streaming on HBO Max, with new episodes every week.