About the service
I make hairpieces from natural hair by hand, and the work starts long before the first weft — it starts with colour. I match the shade at a window, in daylight, because under a lamp hair lies: a warm bulb pulls ash into gold, a cold ceiling light turns copper into dull brown, and the piece that looked perfect in the chair looks borrowed at home. Natural hair behaves the way your own does — it washes, it takes a curling iron, it catches the light unevenly. Artificial fibre shines flat and all at once, and next to living hair the join is visible from the doorway.
I weft two ways, and the choice is not a matter of taste. A hand-tied weft is thinner and softer, it sits quietly on a monture and belongs anywhere the piece lies close to a parting — above all in a chignon pad worn on the crown. A machine weft is even and strong, and that is what carries weight: a long braid, a thick ponytail, wefts meant for length. From there the piece becomes whatever you came for — a pad for the crown, a braid on a ribbon or on a comb, a ponytail on a claw clip, clip-in wefts. The base is fine net, the edge is thinned until it stops existing, and the finished piece is cut and styled on your head, to your face, not on a block in the workshop.
One thing I say to everyone, before any order. Heavy wefts worn constantly pull on your own hair, so I recommend breaks and light fastenings rather than the heaviest piece you can imagine. If hair is falling out, or the scalp itches, flakes or hurts, that is a question for a doctor and not for a hairpiece maker. A piece for someone after treatment I make especially gently, on a soft base, with the lightest possible weight — but it is not treatment and I never let it be mistaken for one. And the hair I work with is only legally bought, with confirmed origin; nothing else comes into my hands.
— shade matching in daylight, including grey and mixed blends
— hand-tied wefting and machine wefting
— chignon pads for the crown, braids on a ribbon or a comb
— ponytails on a claw clip, clip-in wefts for length
— monture and net bases, a light and invisible edge
— cutting and styling the finished piece to your face
— care: washing, drying on a block, storage between wearings
— repair and re-wefting of old pieces; usual turnaround 7–14 days
I weft two ways, and the choice is not a matter of taste. A hand-tied weft is thinner and softer, it sits quietly on a monture and belongs anywhere the piece lies close to a parting — above all in a chignon pad worn on the crown. A machine weft is even and strong, and that is what carries weight: a long braid, a thick ponytail, wefts meant for length. From there the piece becomes whatever you came for — a pad for the crown, a braid on a ribbon or on a comb, a ponytail on a claw clip, clip-in wefts. The base is fine net, the edge is thinned until it stops existing, and the finished piece is cut and styled on your head, to your face, not on a block in the workshop.
One thing I say to everyone, before any order. Heavy wefts worn constantly pull on your own hair, so I recommend breaks and light fastenings rather than the heaviest piece you can imagine. If hair is falling out, or the scalp itches, flakes or hurts, that is a question for a doctor and not for a hairpiece maker. A piece for someone after treatment I make especially gently, on a soft base, with the lightest possible weight — but it is not treatment and I never let it be mistaken for one. And the hair I work with is only legally bought, with confirmed origin; nothing else comes into my hands.
— shade matching in daylight, including grey and mixed blends
— hand-tied wefting and machine wefting
— chignon pads for the crown, braids on a ribbon or a comb
— ponytails on a claw clip, clip-in wefts for length
— monture and net bases, a light and invisible edge
— cutting and styling the finished piece to your face
— care: washing, drying on a block, storage between wearings
— repair and re-wefting of old pieces; usual turnaround 7–14 days
