Deadline contributor Elizabeth Snead files this Emmy report:

Five-time nominated hair department head Lucia Mace has already won 2 Emmys with her spot-on period hairstyles for AMC’s Mad Men whose fashion influence is akin to HBO’s old Sex And The City TV series. Now she’s nominated for Outstanding Hairstyling For A Single Camera Series on the basis of the Playboy Club episode “Hands And Knees” for Season Four. It takes place in the mid 1960s when the hairstyles began to change with the times. “Women’s hair is shorter and bigger with bobs and stacked bowl cuts becoming popular, many with full, teased and sprayed crown,” Mace explains. “We do a lot of teasing and spraying this season. And the hair color is still very monochromatic. No color weaving or highlights. It was one solid color. Blondes were either yellow or platinum. We even had to put color on the extras’ hair, usually colored mousses to make all their hair look one color. As well as hats of all shapes and sizes — pill box to full brim to flat —  hairpieces suddenly became very popular.”

Mace chose this episode for her 2011 Emmy submission because “almost every women in that episode wore a hairpiece of some sort. Either a wig, a  pastiche, a small hairpiece that has curls on it or a 3/4 fall that made their hair into a flip. Nobody had hair down past the shoulders. I mean, just nobody. So we cut people’s hair off, we put it up or put hair pieces or falls or short full wigs. We exaggerated the hair much more in that episode. Hair was higher and shorter and a little wilder than in regular episodes.” Those infamous Bunny ears added another dimension. “We had a woman there from the Playboy organization who was very, very strict about every part of the Bunny uniform, where the ears go on the heads, how their hair has to look, how their costume fits, even how they bend to pick up a tray and set it down.”

The emotional arcs which the female characters go through are often telegraphed by their hairdos. For instance, Dr. Faye Miller (Cara Luono) is perceived as independent and businesslike. “She was very, very done with a lot of makeup on. She had a lot of hair but it didn’t move. We gave her kind of an edge where she’s a challenge for Don, almost his equal. But I softened her when Don was having that panic attack. She came to his apartment wearing a low ponytail, kind of softer and down, because we wanted to show her vulnerability.”

Mara even softened the hair of Joan Harris (Christina Hendricks) to reflect her married status and increasing power at the office. And the entire look of Peggy Olsen (Elisabeth Moss) is now much more professional and polished. “When we first started she wore bangs and a ponytail, just this innocent little girl. Now she’s practically taking over the company and becoming more like Don Draper and putting up more of a front.”

Betty Draper (January Jones) went through quite a lot of stress in this last season with the divorce, a remarriage, then problems with her new husband. “We started her out in the season as very glamorous, like Grace Kelly or Doris Day. But we’ve really distressed January’s clothes and her hair has gotten much plainer. She just doesn’t have it together anymore. Matt Weiner wanted to see some wear on her.”

And her daughter Sally Draper (Kiernan Shipka) is growing up fast. “That was another strong conversation that Matt and I had,” Mace recalls. “He wanted to cut her hair more like Haley Mills in The Parent Trap, shorter and with bangs. I felt that that was still going to make her look too young and I thought a side-parted bob would be a little more sophisticated. So I cut it like that first and showed it to him and he ended up liking it.”

Mace is looking forward to the new seasons set in the late 1960s and 1970s when women’s hair will get long and straight and even the men’s hair will start to grow. Hip ad execs in that era wore longer hair, sideburns, and grew facial hair like beards, goatees and moustaches. Just don’t expect Don Draper (Jon Hamm) to change much. “Matt has this idea that Don Draper never changes,” says Mace. “He’s like Cary Grant.”