Yes, fashion wigs, or “transformations,” as they were called, allowed a woman to change her hair color and hairstyle to suit her mood in the 1920’s. This full page of transformations, from Delineator, September, 1927, shows five wigs, all on the same model.
She doesn’t seem blonde to me, but that is a lovely hairstyle, and no one would guess it wasn’t her own hair.
“At the top of the page is a blonde bob, the only bob in the group. The other transformations all have the small knot at the neck. This transformation is parted far on the left, drawn low on one side of the forehead and low over the ears.”
“In the center, dark brown hair, parted a little on the right is brought low on the forehead in the curled fringe one sees so often on the smart Parisienne. Faintly serious, a little demure, there is yet a piquancy about this transformation.”
“The silver head is so lovely that we couldn’t resist showing you two views of it.”
“There is an enchantment and coquetry in silver locks. Whether one is sixteen or sixty, pure white hair deepens the color and adds brilliance to eyes, and the skin becomes more delicately pink and glowing. [18th century aristocrats wore white wigs, or powdered their hair, to get this look.] Here the wave is very wide so that the shadows will not lose their subtlety.”
“…A transformation is arranged with simple elegance for a formal occasion. The contour of the head is closely followed and an air of extreme dignity is attained.”
“… A soft chestnut coiffure is very graceful. It has a flattering soft bang, covers the ears and has the small chignon, which is most attractive.”
Wig tips for costumers: If you have ever worn a wig, you’ll know that it will look most realistic if the hair is not swept straight back from the hairline, but has at least a few hairs covering the forehead where the wig begins — something all these “transformations” have in common. They were intended to be worn in private life, and seen from inches away. “Movie wigs” and good theatrical wigs have a delicate flesh-toned mesh at the front, with individual hairs “ventilated” into the mesh — The process is much like making a hooked rug (a very tiny one, with hairs instead of yarn.) This mesh can then be glued to the actor’s forehead, and looks very realistic — although I don’t know how HDTV is affecting that! Sean Connery’s crew-cut gray wig in the movie Red October was amazingly convincing — My husband and I came out of the movie talking about that wig!
If you can’t afford a high quality wig to wear with your off-the face-Gibson girl updo, try positioning a Gibson styled wig the same color as your hair slightly behind your hairline. Use a rat-tailed comb to pull about a quarter inch of your own hair out from under the wig cap, and carefully brush it into the hair of the wig before spraying it.