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Chapter 1

A Weave Like No Other

IN FEBRUARY 1994, Ellin LaVar, then a 32-year-old Manhattan hairstylist, went to a client’s house in Mendham, N.J., for a home appointment. In the kitchen, she prepared the woman’s hair for a wash by removing the extensions that she had previously put in, using her shears to snip the tiny stitches that fastened the wefts — individual strands of hair that are sewn together to create extensions — to her client’s cornrows. Once she had taken those out, LaVar began to unravel the minuscule braids she had plaited months before, starting at the nape. Using her fingers, she carefully unwound them section by section, until all that was left was the woman’s natural hair. After her client took a shower in one of her four bathrooms, LaVar blow-dried her hair and, over the next hour, once again braided each section of the soft hair into thin cornrows. The woman’s hair was naturally fine and, because she often attended events, she was accustomed to this laborious, time-consuming process.


T’s Beauty & Luxury Issue

A history of modern beauty in four chapters.

Chapter 1: On the rise of strong “oriental” fragrances that reflected the political and cultural landscapes of their time, the 1980s.

Chapter 2: On ’90s-era advances in weaves, wigs and other Black hairstyles that ushered in a new age of self-expression.

Chapter 3: On botanical oils, a simple fact of life in much of the world that, here in the West, began to take on an almost religious aura in the 2000s.

Chapter 4: On men wearing makeup, a practice with a long history, but one that has really taken off in the last decade.

Hair extensions can be applied with clips, tape or bonding glue but, in the West, the term “weave” specifically refers to wefts that are connected to a person’s braids, a system patented in 1952 by a woman from Louisiana named Christina Jenkins. Though extensions have been used by women (and others) across the world for millenniums, the weave — as a technique, a terminology and an aesthetic unto itself — came to prominence in America in the second half of the 20th century, first among Black women and then in the culture at large.

Black women, of course, have long been familiar with the appropriation of their symbols, style, aesthetic and language. But even so, even now, the weave remains theirs: It’s become synonymous with aspirational Black beauty, name-checked in, say, Afroman’s 2004 “Whack Rappers” (“What a girl want, what a girl need / A ... job and a brand-new hair weave”) or in Beyoncé’s 2006 “Get Me Bodied,” in which she encourages listeners to pat their weaves — which helps with the occasional scalp itch. Weaves are often, erroneously, defined as straight hair extensions that simply add length, but they’re more complex and diverse than that. They can be used to create fullness or texture. They can be installed all over the head or added as a single track to create bangs or asymmetrical styles. Obviously, like all hair extensions, a weave is an enhancement, but its correct application can make it appear natural, even self-grown. It’s not just style — it’s sorcery.


That night in New Jersey, LaVar, who had been working with weaves since the 1970s, took a short break for dinner with her client, then continued her task. Now that the woman’s hair was fully braided, LaVar threaded a weaving needle with a long piece of cotton string and began sewing in some 20 wefts of silky, straight, foot-long human hair, purchased from Extensions Plus, a company in Tarzana, Calif. She and her clients — and nearly everyone else — prefer human hair, often sourced from Asian donors, because it’s more lightweight than synthetic alternatives and can withstand heat and color styling. The pattern LaVar weaves in varies; this time, her client requested versatility and manageability. When LaVar was finished a few hours later, the woman had an auburn, shoulder-length bob with sharp bangs.

Two weeks later, on the evening of the 36th Annual Grammy Awards, LaVar visited her client again. That night, they met at a hotel near Radio City Music Hall — she had just 30 minutes to style the woman’s hair. LaVar used a large-barrel iron to create loose curls and twisted the back into a French roll. Around the temples, she arranged a few chin-length strands to frame her client’s face. Her hair completed, the woman changed into a form-fitting, white scoop-neck dress. And then LaVar’s client, Whitney Houston, who was 30 at the time, headed onstage to open the Grammys with her now-legendary rendition of “I Will Always Love You.” It was a huge night for Houston, who dominated the event, winning three of its biggest awards. In one evening, she became an icon of international style. And so did her weave.

Chapter 2

A Brief History of Black Hair

BLACK PEOPLE HAVE always communicated with their hair. In 2008, archaeologists in Tell el-Amarna, Egypt, an excavation site between Luxor and Cairo, found human remains from the 14th century B.C. with intact hairstyles. Some had more than 70 braids, with extra human hair worked into them to add length. These early weaves, likely styled with wax or grease, were attached in a way that allowed their owners to take their extensions off and update their hairstyles.

Later, in the 1500s, according to oral tradition, Black people who’d been enslaved in Africa braided rice and grains into their hair that they hoped to plant after arriving in then-unknown lands. In South America, legend holds that, in the 1600s, enslaved people plaited routes to freedom in their hair, carrying intricate maps right on their heads. After Reconstruction in the United States, Black women, no longer enslaved but nonetheless ostracized, began to fashion themselves after white people; in the early 1900s, Sarah Breedlove (a.k.a., Madam C.J. Walker) became the first Black female millionaire in part by selling hot combs and other products that enabled straight hair. At-home chemical relaxers, developed around the same time by the inventor Garrett Morgan and a drugstore staple by the 1950s, offered a more permanent solution.

In the years since, Black women in America have consistently created decade-defining hairstyles. In the 1960s, many wore heavy, synthetic wigs that recalled Aretha Franklin’s beehive or the Supremes’ bouncy flip, both of which were born from the need to assimilate to white beauty standards in order to convey a marketable image — this was before Blackness was something to be celebrated, much less marketed. By the 1970s, in defiance of that oppressive whitewashing, many women grew heavily picked-out Afros in homage to the activist Angela Davis, who lamented years later that she would be “remembered as a hairdo.” The era’s Black Power movement encouraged women to embrace their Blackness, including their natural hair texture, but Afros soon came to be viewed as threatening by whites, and many young professionals who wore them were fired from their jobs. In the 1980s, that defiant shape was chemically softened, smoothed onto perm rods and doused in hair oil to create the Jheri curl, a juicy style that became a punchline for the stains it left behind on couches, jackets and car seats.

It wasn’t until the 1990s that the weave morphed from a little-discussed but everyday aspect of Black hair into its own fully realized genre. In some ways, a hairdo like Houston’s was a throwback to the 1960s, crafted to appease all audiences, which also meant diminishing the performer’s own Blackness. Houston was often criticized by her Black fans for singing “white songs” — her music was, some said, too pop, too produced — and for maintaining an image that, with her flirty tendrils, appeared too polished, too polite. She had been crafted to be a global megastar, not a Black one. And yet while Houston was being presented as a sweet, soft, slim, dutiful wife, mother and daughter, the ideal girl next door, she was still irrefutably Black and, therefore, through her very existence, challenged America’s idea of what a Black woman could be or look like.

A woman might wear long chocolate strands with a deep side part like Aaliyah one week, then get an edgy blonde asymmetrical bob like T-Boz from TLC the next. Wearing a weave meant there was nothing to forsake, nothing to commit.

So did her perfect hair, to which other Black women responded with their own tributes and interpretations. The model Naomi Campbell and the singer Mary J. Blige also wore weaves styled by LaVar, though theirs projected a tougher image. Campbell and Blige had attitude; they could be luxe and street at the same time — they weren’t burdened by the same pressures as Houston was. And so, Black women who wanted to be seen as fierce and no-nonsense requested versions of the waist-length weave that Campbell wore on magazine covers. Others, who wanted to convey strength and soulfulness, mimicked Blige’s now-signature caramel hue.

A weave gave a woman the armor she needed to face the world. Not because it provided thicker hair, or longer hair, but because it allowed for versatility: She could go from dark, elbow-length strands to an above-the-chin crop without having to cut, much less touch, her actual hair. (Very few Black women wore their hair natural in the ’90s.) She might wear long chocolate strands with a deep side part like Aaliyah one week, then get an edgy blonde asymmetrical bob like T-Boz from TLC the next. Wearing a weave meant there was nothing to forsake, nothing to commit. Life had possibility, and weaves gave women the freedom of self-invention and reinvention. Black women were no longer tethered to what society had prescribed for them. They no longer had to adhere to the narratives that had pigeonholed them since birth. They were, as they have always been, fully expressive, experimenting with their own identities, crafting themselves piece by piece to make their own self-portrait, one dreamed up by and created for themselves alone. A weave allowed for opportunities denied them by a bigoted society: A weave was play; it was autonomy; it was self-expression. And even when life was difficult, a weave was something pleasurable — a weave, in the end, was joyful.

Going Natural

While creating the sewn-in, ’90s-inspired looks that appear in this story, the 37-year-old New York- and London-based hairstylist Jawara Wauchope — who collaborates with Cardi B and Solange, among other artists — also wanted to pay tribute to the short, shiny, French-twisted and finger-waved natural styles that the women in his family wore in the 1990s during his childhood in Kingston, Jamaica, where he began working in his aunt’s salon at the age of 7. “When I was growing up, my sisters would be the only two girls in church who didn’t have a weave,” he says. “My mother forbade it.” Eventually she relented, realizing not only that her daughters wanted to look like their friends but that extensions would protect their hair. Wauchope didn’t want to ignore that legacy, nor the renewed interest in natural hair among Black women today. “Sometimes when I see [natural hair] in passing, I’m like, ‘Wow,’ ” he says. “It feels — in a word — free.”

Chapter 3

From Relaxed to Sky-High

BUT IF WEAVES were now a vehicle for self-assertion, they began as a solution to a problem. It’s strange to recall that weaves were once considered taboo to discuss, merely an answer to thin or damaged hair. Since the 1950s, most Black women had at one point chemically straightened their hair using products that deteriorated the shaft. “We didn’t know what we were doing with the home perm kit — hair could fall out, and that was hard,” says Belinda Trotter-James, 60, who in 1992 founded the magazine Hype Hair as a beauty guide for Black teenagers. “That’s when getting a weave or extensions came into play.”

Originally, extensions were typically sewn onto hair that was braided thickly around the crown. Stylists often added 12 to 15 ounces of hair — these days, six to eight ounces is considered more than enough — in a circular pattern, which caused the wefts to rise into a cone over time as the braids lost their hold, giving people helmet head. “It looked artificial, like a big wig,” LaVar says. To create a more natural look, she pioneered two techniques that allowed her to install a nearly undetectable weave. She either braided the hair in individual sections with intertwining strands or sewed the extensions onto cornrows in a pattern that complemented the way she wanted them to fall. Word spread of her creativity and of her softer, bespoke styles, which came to include Nia Long’s cropped tomboy cut, Lisa Bonet’s bohemian shag, even Catherine Zeta-Jones’s waterfall mane.

Now 60, LaVar still owns a namesake salon on New York’s Upper West Side, where clients regularly request the looks she developed in the 1990s — particularly Campbell’s long, sleek weave, which the model has worn for nearly three decades, and which has of late seen a resurgence on Instagram and in music videos. In fact, many of the hairstyles worn by Nicki Minaj and Beyoncé — not to mention the Kardashian-Jenner sisters, and scores of other famous women who aren’t Black — are indebted to LaVar’s innovations. In personalizing the weave, offering clients choice when it came to color, length, texture and hair thickness, she inspired a generation of shape-shifters. “We owe that to the ’90s,” says Jawara Wauchope, 37, a New York- and London-based hairstylist. “Being able to change the silhouette of the hair all the time was revolutionary.”

There were no rules: Extensions, partial wigs, tracks, weaves — all of it was fair game, a fantasia of Black hair innovation.

If the ’90s were the decade of the weave, they were also the era of significant hair advancements. Stylists were continually educating themselves, learning new techniques to try on their increasingly curious clients. Some mastered weaves that appeared seamless, while others created campier looks whose appeal was their artifice — many of today’s popular looks, with their pastel shades and waist-skimming lengths, were born out of the those experiments. Some of the ’90s’ most memorable styles — especially the structured, gravity-defying ones — originated on the streets and at hair shows, trade events for those in the beauty industry, in cities like Atlanta, Houston and Detroit. During these contests, stylists from across the country would craft hairdos that resembled the tail of a peacock, for instance, or a four-by-four, complete with wheels, hiked two feet above a model’s head. There were no rules: Extensions, partial wigs, tracks, weaves — all of it was fair game, a fantasia of Black hair innovation.

Chapter 4

The Opulence of Choice

BEYOND HAIR, THE ’90s were aesthetically significant for another reason: These were the years in which luxury brands finally embraced Black celebrities, an affiliation that would change fashion forever. Rappers wore Prada and Fendi; supermodels like Tyra Banks and Veronica Webb became the faces of Yves Saint Laurent and Revlon. The same themes that defined the decade — opulence, excess, decadence — trickled down into everyday hairstyles and clothes. Black women were ready to spend on the visions of themselves they imagined after seeing Janet Jackson walk the red carpet or Robin Givens star in 1992’s “Boomerang,” in which she plays a marketing boss, complete with a flowy, layered weave. Weaves, then, became the more achievable, affordable entry point: You might not be able to have the dress or the jewels, but you could have the hair. “Back then, ladies wanted their hair to last,” until their next appointment weeks later, says Gabrielle Corney, 47, a New York-based hairstylist. “That was how you were judged as a stylist.”

And yet, the true legends changed their hair constantly, an expression of the bravado that came to define hip-hop. Rappers like Lil’ Kim were rarely seen in public wearing the same wig twice (a move that has since inspired Megan Thee Stallion). The R&B singer Monica began her career in the early ’90s with a pixie cut but transitioned to a flawless, pin-straight shoulder-length weave by the time she duetted with Brandy on “The Boy Is Mine” in 1998. The way these women crafted their image and their art continued to evolve simultaneously, as manifestations of their changing selves.

The American definition of cool was also shifting. Since at least the 1970s — when Bo Derek wore cornrows in the movie “10” (1979), a questionable choice later replicated by Kim Kardashian West — being fly, fresh or sexy had meant channeling the Black American aesthetic. In music, especially, Blackness was often usurped and appropriated, while many artists, from the Supremes to Ray Charles, were unwilling to attach their images or private lives to their music for fear of being rejected by their audiences and record labels. By the ’90s, however, the public wanted more personal ways to connect with artists (not to mention more diverse artists). Hip-hop and R&B stars gave women of all races and ethnicities personae to imitate, whether those were defined by elegance or an unapologetic ghetto fabulousness.

Many singers hired Misa Hylton, now 47, who has styled Mary J. Blige and Lil’ Kim and defined the ’90s’ alchemy of glut and glamour. By collaborating directly with hairstylists and makeup artists, she created cohesive looks that imprinted themselves onto the collective cultural imagination, whether it was Blige in her dark brown Mongolian fur coat for 1996’s “Not Gon’ Cry” video, or Kim in her kaleidoscope of primary-color looks for 1997’s “Crush on You.” That video’s director, Lance Rivera, reportedly wanted to update a scene from 1978’s “The Wiz,” a Black-centric adaptation of 1939’s “The Wizard of Oz,” in which the Emerald City transforms from green to red to gold. Hylton decided Kim’s outfits and hair should do the same, morphing from a fringed crimson style to a cerulean girl-flip bob to a lime-green Twiggy-adjacent crop before finally arriving at a curly, dandelion-yellow messy updo similar to those that had been popularized at hair shows.

The video forever changed the way color was used in hair: It was no longer clownish but something that conveyed style and character. Hylton collaborated on the wigs with the Chicago-based hairstylist Eugene Davis, now 52. “I figured we could do contemporary cuts, shapes and styles with the bold colors,” he recalls. “I had no idea that that would be what revolutionized how Black women — how all women — looked at color.” In recent years, those bright, winkingly unreal ’90s looks have been regularly replicated, both by Black artists, like Nicki Minaj, SZA and Rihanna, and by white pop stars, including Lady Gaga and Billie Eilish. The abundance, the variation, the extravagance, the artifice that the weave ushered in three decades ago now benefits all people, not just Black women.

On the Covers

That said, is the weave’s reign nearing its end? Among Black people, there’s an ongoing argument that it may have been eclipsed by the lace-front wig. Lace fronts, as they’re known, are those in which strands of human hair are applied to a thin piece of lace that imitates the skin on the forehead and scalp. Many seem completely natural — consider the updos, inspired by classic ’90s weaves, that Megan Thee Stallion and Cardi B wore to promote last year’s “WAP.” Such looks feel nostalgic, but they’re also novel, like something the stars of the 1995 movie “Clueless” would wear if it had been set in Harlem instead of Beverly Hills. And unlike their predecessors, the women who wear them get to have it both ways: They can pair Chanel with Reeboks or a Louis Vuitton handbag with a black wig long enough to graze the backs of their knees, as Megan Thee Stallion recently did. In that way, the Black artist has yet again evolved: Unlike Houston or even Lil’ Kim, she is her own brand, fully in command of her own aesthetic. She doesn’t need the weave to give her a sense of independence — she already has it.

Then there’s the natural hair renaissance, which took hold around 2008 as many women decided to forgo harsh relaxers. Hair-care videos began proliferating online, but some of their fans soon found their natural hair too difficult or time-consuming to maintain and found themselves turning to ... the weave. Many women now get extensions from time to time to protect their hair from excess manipulation — or simply to try on a new identity. Braided neatly, hair can be moisturized and conditioned while hidden beneath a weave, allowing the extensions to be blow-dried, curled, straightened or trimmed into any style its wearer likes.

But do these shifts mean the weave is over, or just that the Black woman now has options, and the right to employ as many of them as she pleases? Her hair is her own to do with it as she likes, and so is the rest of her. While society has yet to imagine a Black woman full of possibility, it’s a reality she has envisioned for herself. It’s hers, however she expresses it — and no one can take it away from her.

Models: Indu Drame and Arlene Clement at IMG Models, Brandi Quinones at State Management, Tash Ncube and Eileen Tau at Muse NYC, Ubah Hassan at Women 360, Hawah Jabbie at System, Walda Laurenceau at Elite Model Management and Deon Bray at Wilhelmina Models. Hair: Jawara at Art Partner using Dyson. Makeup: Susie Sobol at Julian Watson Agency. Set design: Gerard Santos. Casting: Midland. Production: AP Studio. Manicurist: Megumi Yamamoto for Chanel Le Vernis. Lighting director: Simi Vijay. Photo assistant: Alonso Ayala. Hair assistants: Melissa Cottman, Roddi W, Sondrea Demry, Jessica Dylan. Makeup assistants: Mical Klip, Yuriko Saijo. Set assistants: Daniel Fabricant, Emmet Padgett. Tailor: Thao Huynh. Stylist’s assistants: Julian Mack, Cari Pacheco

  1. Haystack clip art
  2. Yuria the witch
  3. The post journal

UJIABIZ Green Curly Mullet Wig for Men Green Clown Wigs Heat Resistant Synthetic Hair Wigs for Fashion Halloween Christmas Play Party Cosplay Wigs (GREEN)

UJIABIZ Green Curly Mullet Wig for Men Green Clown Wigs Heat Resistant Synthetic Hair Wigs for Fashion Halloween Christmas Play Party Cosplay Wigs (GREEN)


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Item #:


Price Details

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*All items will import from USA

Order now and get it around Saturday, October 23

Note: Electronic products sold in US store operate on (110-120) volts, a step-down power converter is required for the smooth device function. It is mandatory to know the wattage of the device in order to choose the appropriate power converter. Recommended power converters Buy Now.

Product Details

  • 【Exquisite Design】: Short anime wig inspired by famous anime, adopts a loose wave gradient design,Cap Circumference (21inch-22.5inch),Wigs have Adjustable Straps, suitable for most men's heads Encircle,breathable rose net make you feel comfortable when you wear it
  • 【Premium Synthetic Wig】: High-quality mens wigs is made of 100% high-quality heat resistant friendly fiber, which fit the scalp perfectly, and look very natural, soft and smoothly, which looks and feels like human hair.
  • 【Cool styling】: Green clown wig is anime movie wig.It has a natural and cool style, which is suitable for boy and men with different face shapes.
  • 【Applicable occasions】: Suitable clown wig lovers of demon killer role-playing games, participating in various special occasions, Halloween party,Christmas party, fancy dress parties, comic shows, theme performances, making you the focus of the crowd
Package Dimensions ‏ : ‎9.13 x 5.59 x 2.09 inches (23.2 x 14.2 x 5.3 cm); 11 Ounces (311.85 grams)
Department ‏ : ‎Mens
Manufacturer ‏ : ‎UJIABIZ
Country of Origin ‏ : ‎China
Hair TypeCurly, Short hair, Straight
What is in the boxUJIABIZ Green Curly Mullet... For more details, please check description/product details


Size:18 Inch |  Color:GREEN

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Netflix hitSquid Game is disturbing in its violence, but there's no denying the nine-episode show is beautifully shot. There's the unnerving Red Light, Green Light robot girl; the pastel-candy-colored stairways in the building where the doomed contestants live; and, of course, the striking costumes: red for most of the guards, green for the contestants, and an impressive Darth Vader-like dark metal look for the mysterious Front Man.

Yes, the series is more of a trick than a treat for the characters, but it's likely you'll see their distinctive outfits at Halloween parties and events come late October. 

"The Squid Game staff uniform is going to be the #1 Halloween costume this year in Korea," one viewer tweeted.

If you want to dress up as a Squid Game character, the good news is the costumes aren't complicated. You can certainly assemble your own, and if you don't have the time to do that, online stores are already selling completed versions.

Squid Game contestant costumes

The contestants essentially wear white T-shirts under green track suits with white trim. They're recognizable as Squid Game characters and not just joggers thanks to a three-digit white number (between 001 and 456) on their backs and on the left side of the front of the jackets, as well as on their shirts.


It's not tough to make that costume yourself. Google "green track suit" and you're off to the Red Light, Green Light races. Don't forget the numbers -- you can grab some fabric and make number patches that will last, or for a one-night party, just cut the numbers out of paper and then glue, tape or pin them in the right spots. 

Entertain your brain with the coolest news from streaming to superheroes, memes to video games.

Pick your number carefully. Seong Gi-hun, the closest thing the show has to a hero, is No. 456. Crafty Cho Sang-woo, the pride of his hometown, is No. 218. Elderly Oh Il-nam is No. 001, scrappy North Korean defector Kang Sae-byeok is No. 067, and brutal gangster Jang Deok-su is No. 101 -- for him, you'll want to get your artist friend to draw a snake tattoo on your face. 

And if you're going to a frat party and want the easy laugh, maybe you'll choose No. 069, the desperate and unnamed husband who's playing the deadly game with his wife -- the dirty joke hidden in his number gets at least one rich patron to bet on him to win.

If you like props, a sack of marbles, used in one of the games, might be a fun addition. And don't forget to load up on fake blood and smear it in various spots, as none of the contestants make it through unscathed.

You can buy the costume if you don't have time to put it together from various sources. The major costume manufacturers aren't going to have time to put them together for sale, but cosplay and artist sites are already offering them. 

SPCosplay is selling the track suit on Amazon for $48 (£35, AU$66). XOCostume has it for $66 (£48, AU$91). Warning: There are many other sellers, but whomever you choose, you're going to want to check on delivery dates -- Halloween is coming up, and some sites ship from Asia, which lengthens delivery time. Also verify whether the suit is sold in Asian clothing sizes, which are smaller than US sizes.

Squid Game guard costumes

Honestly, the red-clad guards have cooler costumes than the competitors in track suits. They wear red hooded jumpsuits that zip up the front, with black belts. No numbers for them, but they do wear freakish black face masks with either a triangle, circle or square on the front. And they carry threateningly large weapons. 


This costume's a little trickier to make on your own, but it's still very doable. Search on red jumpsuit (though a tracksuit would do in a pinch, as long as it has a hood). The best way to make the face mask is probably to acquire a fencing mask, but also, some costume stores sell something they call a ghoul's mask or an invisible man mask, black cloth that's meant to completely hide your face. You can apply your own triangle or other shape easily enough with white tape.

If you're buying the costume complete, same caveats as above apply -- look carefully at sizing and delivery dates. XOCostume sells the Squid Game staff outfit for $56 (£41, AU$77), and Etsy sellers are also on the bandwagon -- here's one for $50 (£36, AU$69).

Squid Game Front Man costume

The Front Man is the boss of the guards, though it turns out he too has bosses of his own. His costume is probably the coolest and the most difficult to make on your own. He wears an unusual black mask with sharp angles, and a long black coat and gloves. The coat and gloves are simple enough to buy (ideally, the coat would have a hood), but assembling your own mask is tougher.


If you want to DIY the Front Man mask, there are patterns for 3D printers that look pretty good. You can also buy the mask completed. Here's one on Etsy for $43 (£31, AU$59), and surely more artists will be making them soon.

Red Light, Green Light Squid Game costume

One of the more novel looks in the game is that of the giant robot schoolgirl who runs the Red Light, Green Light game, the very first game in the show. There didn't seem to be any completed outfits for sale online, but this is easy to assemble yourself. Just get a yellow shirt, top it with an orange jumper, and fix your hair in short ponytails or braids (or wear a wig). Then creepily say, "Red Light! Green Light!" and keep turning around quickly to stare at people. That's pretty much it.

All nine episodes of Squid Game are now available on Netflix.


Wig mens green

Mens Green Clown Wig Layered Anime Cosplay Wig Short Curly Wigs Fashion Halloween Christmas Dress Play Party 16 Inch (Green

Mens Green Clown Wig Layered Anime Cosplay Wig Short Curly Wigs Fashion Halloween Christmas Dress Play Party 16 Inch (Green


200 ratings Write a review

Item #:


Order now and get it around Saturday, October 23

Note: Electronic products sold in US store operate on (110-120) volts, a step-down power converter is required for the smooth device function. It is mandatory to know the wattage of the device in order to choose the appropriate power converter. Recommended power converters Buy Now.

Product Details

  • Applicable occasions: Suitable clown wig lovers of demon killer role-playing games, participating in various special occasions, such as Halloween parties, fancy dress parties, comic shows, theme performances, etc. Fashionable and charming, making you the focus of the crowd
  • Unique design: The short anime wig adopts a loose wave gradient design, a beautiful wig inspired by famous Japanese anime, designed for the protagonist, generally suitable for men with 50-60 head circumference, adjustable in size, suitable for most American men's heads Encircle
  • Excellent quality: High-quality mens wigs are made of synthetic fibers, which fit the scalp perfectly, and look very natural. Special crafts are added during the production process to minimize knotting and hair loss, making it smooth and supple. The good material is for you Comfortable wearing experience
  • Perfect styling: Clown movie wig have a natural and cool style, which is suitable for boy with different face shapes. The synthetic hair of ready-made clothes looks and feels like natural hair. The open mesh in the hat creates better air circulation for the scalp Provides more coolness
Package Dimensions ‏ : ‎10.6 x 6.4 x 2.4 inches (26.9 x 16.3 x 6.2 cm); 6.38 Ounces (180.87 grams)
UPC ‏ : ‎791514370405
Manufacturer ‏ : ‎yingming
ASIN ‏ : ‎B087M6VBKK
Hair TypeCurly, Thick, Short


Pattern Name:ym218

1.100% heat-resistant synthetic fiber, stylish wig, natural appearance, soft and shiny feel.
2. Has a beautiful and charming effect, absolute value for money, can bring you a better role-playing, comfortable and natural feeling.
3. You can cut off the hair dryer (cold air) or hair stick (preferably not high temperature) to change your style
4. The size can be adjusted by itself. The length of the product is 40 cm and the weight is 150 g. It can also be used repeatedly. One wig and one wig cap.
5. Suitable for your wedding, graduation ceremony, holiday and party attendance, gifts for family and friends, etc.
6. This wig cap is suitable for most people. But for the special case of head size and head shape, a few people may feel the wig cap slipping off. Therefore, if necessary, some hairpins are needed to prevent slipping.
7. Wig storage: The best way is to put it on a wig rack or model, or you can store it in a hair net and plastic bag. Please note that the wig should be placed in a cool and dry place.
8. Please note:
a. Due to the production process, it is normal for shedding to be at least. Please do not spray gel water and wax on the wig, otherwise the wig will be greasy.
b. Due to the material, spotlights, camera pixels and personal understanding of color difference, the color may be slightly different, the picture is for reference only.
c. The product may be squeezed during transportation, but don't worry, as long as you pay attention, it will become what you want. Happy shopping!

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On her breasts. Maria pretty much smeared the sperm all over her breasts, and then licked her fingers. Then I lay on my back, and Maria stroked me with her palm and whispered words of love to me: Kolenka. My colt.

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The door opened and the girl entered again. She fastened Olga to the bed and began to insert her fingers into the developed ass, first one or two, then. Increasing their number. Soon there were four of them, and then the whole brush rushed inward.

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