PH: Collaborating with Malcolm Washington, what was the process like aligning your vision with his to authentically represent Black hairstyles and makeup for this film?
Para Sharde’ Malden: Collaborating with Malcolm Washington on the makeup design was a thoughtful and collaborative process. He had a strong vision for authentically representing the 1930s and that was a vision we both shared. I expressed to Malcolm that when I create makeup looks for a period piece, my goal is for the audience to feel as if they are looking at people from that era instead of current day people playing it. We shared that goal as well.
Andrea Mona Bowman: Collaborating with director Malcolm Washington was effortless in a sense. Malcolm, as a young director, was very involved with intention and direction. He provided authentic research material when he gave us a book by a photographer from Pittsburgh who captured the Hill Districts in 1936. That book set the tone for true character development.
PH: How does working on a project like The Piano Lesson, which is so culturally and historically significant, differ from other period films you’ve worked on?
Para Sharde’ Malden: As the Makeup Department Head designing makeup for period projects, I approach each one with the same level of care and commitment to authenticity. Every detail matters, from the historical accuracy to the way the makeup enhances the characters' stories and the overall narrative. For me, it’s about creating makeup looks that feel true to the time while honoring the cultural and emotional depth of the story. Whether it’s The Piano Lesson or any other project, I give the same energy and attention to ensuring the makeup contributes meaningfully to bringing the characters and their world to life. Every project is important, and each one receives the same dedication to excellence and authenticity.
Andrea Mona Bowman: For me, there is no difference because the research into period films is similarly intentional; offering a range of inspection and depth. For our culture, looks, and expressions hair is more than hair, it's spiritual. Being authentic to the period makes the story come to life; from the script to the screen is a rite of passage for me. There's not a difference, but uniqueness, because every film that I've worked on, from Fences to Lovecraft Country, Watchman, True Detectives, Respect & Fight Night; the time and space, be it fictional or true, is a rich reality.
PH: Mona, your work on Emancipation was lauded for its historical accuracy. For The Piano Lesson, what challenges or opportunities did you face in portraying Black hairstyles of the 1930s Pittsburgh era?
Andrea Mona Bowman: No challenges, just opportunities. Our team used period-appropriate techniques, tools, and products to create the styles with realism as our inspiration. Marcel Irons, wave claps, pressing cremes, and even our brushes were used from the actual time period, producing historically accurate art.
PH: Can you share more about the research process behind selecting hair products and tools from the 1930s? How did these contribute to the authenticity of your designs?
Andrea Mona Bowman: They contributed majorly to my design from prior research of period hairstyles I have acquired from many books that I have purchased over the years that have the names, the types, and the ingredients used to be able to perform. The research process behind products come from the many books that I have acquired over the years of hair designing. Many books from those time periods have illustrations, as well as certain brands and types that they placed in those books to educate about the types of products that they use. It was very vital for me to ensure that I stay educated.
Art inspires art. The books I've attained over the years have given me vital examples of actual products, illustrations, and techniques that were specific to this time. You may pick up a book and read of a Marcel iron being used before going to church, or products being purchased from newspaper ads and door-to-door salesmen. This is what would help me replicate in real-time. Having this type of access opened the world of the 1930s to our team.
PH: What role does hairstyling play in character development in The Piano Lesson, particularly for characters like John David Washington's and Danielle Deadwyler's?
Andrea Mona Bowman: Hairstyling is very important to character development because it sets the period and tells the story. Hair styling can tell status, occupation, and circumstance. You can put a person in the same wardrobe and makeup but if you change the hairstyle, it can take you to a specific space and time. For example, John David Washington's character, Boy Willie (hair done by his personal Hairstylist, Yvette Sheldon) was a farmer from Mississippi. That's why the hairstyle chosen for him wasn't over stylized. He was a young man whose father groomed him, but wouldn't have emphasized it much because of their lack of resources. Danielle Deadwyler's, Bernice was a young lady, a mother that moved from the South to the North. At that time, appearance and style were a reflection of self-esteem and piety.
PH: Para, your attention to detail in creating historically accurate makeup is remarkable. How did you decide on specific nail shapes, mustaches, and other details to reflect the characters' jobs, income class, and identities?
Para Sharde’ Malden: Thank you so much for the compliment. It truly means a lot! When designing the makeup for The Piano Lesson, each character’s look was carefully crafted to reflect their background, profession, and personality. For Lymon, played by Ray Fisher, it wasn’t revealed his current occupation during the time of seeing him but his character’s roots as a railroad worker from Mississippi shaped his rugged and unpolished appearance. His facial hair was applied and purposefully placed to look sparse to create the look of someone accustomed to physical labor, subtly emphasizing his working-class identity.
Wining Boy, played by Michael Potts, also came from Mississippi, but his years as a traveling musician gave him a more refined and polished look. His grooming reflected the confidence and flair of a performer who had spent time on the road. Avery, played by Corey Hawkins, embodied the duality of a preacher and a hotel elevator operator. His mustache was deliberately shaped and maintained, visually capturing the balance between his spiritual role and his day-to-day job.
Berniece, played by Danielle Deadwyler, was portrayed as a housekeeper who always maintained a polished appearance. Her look reflected her pride in presenting herself well, whether at work or during going out in town. While her makeup was designed to appear natural, it was carefully applied to enhance her features subtly and amplified slightly when going out in the town with a little more application and a period appropriate red lip. Different tones/color, sheen and how the red lip was applied helps in telling the accuracy of a time period. Also, even though it may not have been very visible, using techniques like highlighting and contouring to create a polished yet understated finish was used in all of her looks, from the flashback with her late husband Crawley to her beautiful look at the end of the film at the piano with her daughter, Maretha, played by Skylar Smith. This approach gave the impression that she wasn’t wearing makeup while in fact, every detail was purposefully crafted. Each character’s makeup was tailored to their story, ensuring their visuals authentically supported their journey. I also want to thank my key makeup artist Jennifer “Jenny” Garner for being an amazing aid in helping certain characters come to life and all the additional makeup artists that helped. Each character to main talent to background actors play a major role in making a period piece authentic.
PH: What were some of the most intricate or challenging makeup designs in the film, and how did you bring them to life?
Para Sharde’ Malden: One of the most intricate and challenging makeup designs in the film was creating the ghost of Sutter, played by Jay Peterson. This process required many meetings and tests involving myself, director Malcolm Washington, and my key special effects artist, Omar Sfreedo. We aimed to strike a delicate balance, making the look believable and unsettling enough to evoke a strong reaction from the audience, but still appropriate for a PG-13 rating.
A significant part of the challenge was capturing the post-mortem appearance of someone who had been pushed into a well, landed in water, and remained submerged for some time. We carefully considered the effects of water on the skin, such as discoloration, bloating, and texture changes, to achieve a realistic yet restrained look. With prosthetics and using strategic coloring, we brought this vision to life in a way that felt eerie and impactful without being overly gory. It was a collaborative effort that required precision and creativity to ensure the ghost’s appearance both served the story and resonated with the audience.
PH: The 1930s was an era of understated beauty in makeup trends. How did you balance period accuracy while making sure the designs resonated emotionally with a modern audience?
Para Sharde’ Malden: The 1930s was indeed an era of understated beauty, and balancing period accuracy with emotional resonance for a modern audience was an essential part of the process. I believe people resonate deeply with realistic beauty. Those subtle, authentic touches mirror how they see themselves in the comfort of their own homes. By focusing on soft, natural looks that reflected the era’s trends, I was able to maintain historical accuracy while grounding the designs in a relatable, humanizing realism.
For example, makeup was applied to look almost invisible, enhancing the characters’ features without overshadowing their natural expressions. Techniques like light contouring and subtle highlights were used to mimic natural lighting, creating a timeless quality that connects with audiences today. This approach allowed the makeup to feel both authentic to the 1930s and emotionally accessible, ensuring the characters’ appearances resonated as much as their stories.
PH: How did you ensure cohesion between hair and makeup to present a unified and authentic look for each character?
Para Sharde’ Malden: Ensuring cohesion between hair, makeup, and costumes was a collaborative effort that began in pre-production and continued throughout filming. Detailed meetings with the makeup, hair, and costume departments, as well as with director Malcolm Washington, were held to align the vision for each character’s look. Open communication was key. We regularly shared updates on any changes to costumes, makeup or hairstyles, ensuring all elements complement one another. For instance, we considered what the characters were wearing when finalizing their makeup, adjusting tones and textures to harmonize with their outfits. These collaborative efforts, guided by Malcolm’s direction, allowed us to create authentic, period-accurate looks that felt cohesive and fully realized for each character.
Andrea Mona Bowman: We made sure that we communicated with each other daily about the looks. Continuity was developed, and once it was established, we remained consistent. Even with costumes, notes were kept, and when quick changes were made, communication was the key to success. Key details in the script were used as guides for us and as we relayed needs, we saw flawless execution on set.
PH: Can you share any memorable moments or creative breakthroughs from your collaboration on set?
Para Sharde’ Malden: Some of the most memorable moments for me were in the makeup and hair trailer. It was where all the magic and connection happened. The trailer was like a little sanctuary where the team and the actors could just vibe. We’d have conversations of organically getting to know one another and times of someone starting a dance break, and we’d all join in and hype each other up. It was such a fun, relaxed space where everyone could be themselves. Those moments made the long days feel lighter and brought us all closer together. It felt like family.
Andrea Mona Bowman: My most memorable moments were seeing Denzel Washington on set standing by watching his sons Malcolm and John David working their artistry side by side. Seeing Mrs. Pauletta Washington give out pointers, encouraging and supporting her children as they work on set, was so inspiring to me as a mother and grandmother. Just to see how important it is to pour into your children while nurturing the results was amazing.
PH: As Black women working on a film centered on Black history and legacy, what did this project mean to you personally?
Para Sharde’ Malden: Working on The Piano Lesson was deeply personal for me as a Black woman and creator. The film’s exploration of history, lineage, and legacy resonated in such a profound way because it reflects stories that are a part of our collective and personal experiences. Being part of a project that honors Black history and culture wasn’t just about creating looks, it was about contributing to a story that will hopefully inspire and educate future generations. This project allowed me to leave a piece of my own legacy by bringing these characters to life in an authentic way, ensuring their stories and identities are honored through every detail. It’s a reminder that our work isn’t just about the present, it’s about contributing to something bigger that will last long after the credits roll.
Andrea Mona Bowman: Personally to me, it meant the world. I love every opportunity that I get to be able to execute excellence and bring natural hair the light that it deserves. Our hair is the only hair that has a law passed to allow it to be worn in its natural form, so to have the opportunity to lead a department that helps place our hair with honor and respect before the masses beautifully is a dream that always comes true. It's for us all and our ancestors.
PH: How do you hope the hair and makeup in The Piano Lesson contribute to the storytelling and resonate with audiences, especially Black viewers?
Para Sharde’ Malden: My hope is that Black viewers, in particular, can watch The Piano Lesson and feel like they’re able to connect with the makeup looks and see a piece of themselves reflected in the characters.
Andrea Mona Bowman: I hope that the hair and the makeup effects the film in a mighty way because our contribution brings the characters to life, making it authentic and masterfully helping to tell the story. I want the audience to embrace being engulfed in our creativity and owning our story.
PH: Mona, your work on Emancipation earned you an Oscar shortlist nomination. How do you see The Piano Lesson building on your legacy of representing Black history authentically through hair design?
Andrea Mona Bowman: I see The Piano Lesson adding to my lifelong passion for telling the stories of our ancestors. The uniqueness of August Wilson's creative writing traveling through generations allows for my craft to become timeless. Whether nominated or not, my art is etched in the minds of the black consciousness. This is the true glory that I give God.
PH: For both of you: What do you hope audiences take away from the authenticity and cultural significance of your work in The Piano Lesson?
Para Sharde’ Malden: I hope audiences take away a sense of pride and connection from the authenticity and cultural significance of the work in The Piano Lesson. Every detail was crafted to honor the history and identity of the characters, and my goal was to make the story feel as real and relatable as possible. I want viewers to see themselves and their heritage reflected on screen in a way that feels true, powerful, and lasting.
Andrea Mona Bowman: I would like for the audience to take with them our dedication and integrity, as well as our love for the art form.
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