I agree to a certain extent.Most artist will not give away their supplier or they only give half an answer to something…I know one artist tommy at ghastly pro has always been a huge help to me.I have ordered mohair from about 8 suppliers myself and I find that the honey blonde mohair from coppermoose is the closest and best hair Ive worked with.That being said you can put the same mohair in 10 different artist hands and you will get 10 totally different looks.Some will look spot on and some will look awful.You can ruin mohair when dying it and get it all matted together so its nearly immpossible to work with if your not careful.It takes alot of trial and error and asking lots of questions.Hairing a mask is a work of art in itself.The more you hair the better you get and the less hair you need to do a mask.
I did not mention any names in my post to try not to step on any toes. In my experience Warlock, CBK, Tommy and Colin have been the most open and honest with me. The few times I’ve spoken with him, Justin Marby was also very helpful.
By far, Crepe wool is thee closest thing to Kirk hair, the only difference is that it is not aged 30+ years. Crepe mattes down perfectly and always stays in place, even Don Post Jr. said they used Crepe on the kirks, what more do you need? I find that the Aburn color is the closest to the Hero hair color, with just a tad of sprayed black in steaks, not much but a little.
Holding original kirk hair next to crepe wool you can see they’re different. The original kirk hair fiber is thicker and more course than crepe. It does look good on masks though.
Wasn’t the original kirk used for Halloween with dark blonde hair dyed with black in streaks? I have no idea what the hair is but I really like the matted thin hair on my Warlock.
Very interesting thread, guys.
It’s fascinating how hard we all work to replicate the exact look of the H1 mask, a look that was basically achieved by Tommy Lee Wallace without too much effort. A guy could get himself put away in Haddonfield Sanitarium for obssessing too much on this stuff. 
I think the key is probably keeping it fairly simple. Like it has been said in this thread, the 75 Kirk masks were not lavishly haired, facial paint was very plain. That’s why the simple alterations they made to it for the film completely changed it’s appearance so much. You don’t even really see or think about the appearance of the hair on the mask when you watch the film. It’s not the focal point of the mask and generally the hair disappears into the surrounding darkness. We only really get to see quick glimpses of the mask close up, and quick, out of focus distance shots of the mask in the day lit scenes, and that is a big part of what is really bringing out the masks creepiness–not seeing it clearly or for too long.
That’s a hard vibe to capture on a replica mask sitting on a stand and being displayed and stared at in generally evenly lit room lighting, because so much of our impression of The Shape’s mask seen in the film comes down to the effectiveness of the set lighting and the tone of the sequences it is visible in.
You can set two H78 conversions side by side and they can look as different as night and day. And, the most screen accurate replica of the two side by side masks may not necessarily be the one exuding the strongest H1 vibe, either!?! That’s why it is so phenomenal when a you see a conversion that just nails that H1 vibe, because that is where the true “artistry” comes in to play!
My hat’s off to those who achieve that monumental feat!