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On August 14, Aaron Kwok’s Hong Kong concert opened.

Many people came to see Aaron Kwok with sentimental feelings, but when they saw the show start, they were wondering, who is this?

Wearing a yellow wig, is this still the handsome superstar Aaron Kwok that everyone remembers? Some netizens commented: This head looks like a pile of instant noodles turned upside down on the head.

And this chicken feather head is also hard to accept. I have only seen cockscombs, and few people would turn the chicken feathers upside down like this.

What makes fans even more shocked is this slippery teardrop head, which is hard to tell which dimension it belongs to.

In comparison, this CD head is considered normal.

In the end, he took off his wig, and netizens praised Chengcheng for being so handsome!

Therefore, the problem is not with Aaron Kwok himself, he is still handsome without the wig, but the design of these wigs is really a bit ahead of its time. Everyone found out that the makeup artist for Aaron Kwok's concert was the famous William Chang.

As he had not performed at the Hong Kong Coliseum for eight years, Aaron Kwok attached great importance to this concert. He prepared for it for a year, spent half a billion to build the stage, and invited William Chang to design his dance costumes. He said at the time that William Chang's designs were fashionable, bright, tasteful, and stylish. Each piece had a signature touch, like a work of art, and was very exciting to look forward to.

Actually, this kind of art is a little hard to accept at first, but if you think about it carefully, isn’t this kind of posting the style that William Chang is good at?

Looking back to the golden age of Hong Kong films, William Chang contributed many classics. With "Days of Being Wild", William Chang won the Best Art Design Award at the Academy Awards.

"Chungking Express", "Fallen Angels" and "Happy Together" also fully demonstrate the unique aesthetics of William Chang and Wong Kar-wai.

In "In the Mood for Love", William Chang designed 23 cheongsams of different styles for Maggie Cheung.

However, his avant-garde style is probably best reflected in his collaboration with Tsui Hark, where his hairstyle in Green Snake was close to his scalp.

The same is true in "Swordsman", but in the Hong Kong style atmosphere and supernatural plot, this kind of makeup can actually add a sense of mystery and charm.

There is also the stunning glimpse of Zhang Min riding a white horse in "The Demon Cult Leader" in "The Heaven Sword and Dragon Saber". The close-fitting scalp and the exposed big bald head make her look even more heroic.

But later, when he became the art director for a mainland drama, netizens joked that the hairstyle he created was "combed flat."

Yang Mi was forced to reveal her extremely high hairline.

In "Legend of the Ancient Sword", Liu Shishi and Chen Weiting's scalps were tightly tied.

Tang Wei's look in "The Glory of Tang Dynasty" makes people slowly question it.

Zhang Ziyi's early styling in "The Story of Yanxi Palace" was not very impressive either.

However, Zhang Ziyi can pull off a hairstyle that's close to her scalp, but relatively speaking, she is more suitable for movies.

In "The Grandmaster", she also had a bald head with a 50:50 split, close to her scalp, but this hairstyle seemed to show the advantages of her bone structure on the big screen, and lifted her whole aura.

It can be seen that styling is important, but the director's control of the camera, the actors' performance, and the overall narrative atmosphere are equally important.

However, many ancient costume dramas do not require such avant-garde styling, as long as they look comfortable, it is enough. For example, Yang Mi in "Eternal Love" does not have a completely bald head. She just puts a little hair on both sides to make it look more natural.

Di Lieba’s Fengjiu’s look is quirky and fits the character setting.

So when doing this hairstyle for Aaron Kwok, William Chang still used the "combing and flattening" technique that he is good at, and used various ironing techniques.

As for whether it looks good or not, it depends on personal opinion. Maybe Aaron Kwok’s concert has to be combined with the atmosphere of his own theme.

For designers, aesthetics is a very subjective thing, but it is also important to maintain one's own unique style. This ironing technique may have become his unique style, a "watermark" hidden in the shape. People who accept and like this style will naturally continue to cooperate with him to create a unique style.

I wonder who will be the next person to be “combed flat” by William Chang?