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For more than half a century, cinephiles and silver-screen darlings have flocked to the Cannes Film Festival, which debuts the biggest and most boundary-pushing new films of note. Wardrobe choices have run the gamut throughout the event’s 72 years who can forget the epicene effect of Aymeline Valade’s Pallas tuxedo, worn at the premiere of 2014’s Saint Laurent biopic with a freshly platinum dye job? while hair and makeup have trod a similarly versatile line between glamour and ease.
Born in Spanish Town, Jamaica and raised in upstate New York, Jones was living in New York City and cultivating her image as an up-and-coming Wilhelmina model when she radically shaved off all her hair in the late ’60s. “It made me look more abstract, less tied to a specific race
or sex or tribe,” she once said. “I was Black, but not Black; woman, but not woman; American, but Jamaican; African, but science fiction.” In 1970, she moved to Paris, where her unconventional look was met with applause, and so began her meteoric rise to fame. Modeling for Yves Saint Laurent and Kenzo and posing for photographers such as Helmut Newton and Guy Bourdin, Jones treated her buzzed coif like a sculpture, casting it in geometric shapes with elaborate etchings, with her flattop fade styles becoming the most notorious of all. And while her hair, as well as her lithe yet muscular figure, often skewed androgynous, her makeup played up her almond gaze, pyramid-sharp cheekbones, and pillowy mouth to super-goddess effect.
To accompany hairstylist Guido Palau’s ouroboros braids duets of plaits seamlessly connected behind the head, a visual pulled from Rivera’s Calla Lily Vendor Philips embraced subtlety. Think: a blend of Diorshow On Stage Crayon and Diorshow Iconic Overcurl Mascara (now featuring refillable packaging) at lash roots, but not lengths; tiny touches of powder to combat the humidity; and Dior Rosy Glow in Rosewood (with a lip to match) for a wash of warmth.
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