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And yet I didn’t feel ugly like I had in the past, despite my face looking completely different to how it should. And that’s because something like Botox, or any intervention against ugliness, or aging, or weight gain whatever you wish to call it is seen as more morally commendable than accepting your body as it is. Watch Troye Sivan Prepare to Walk the Cannes Red Carpet And Share the Posing Tips He Learned From Lily-Rose Depp For much of my life, I’ve been unable to put my finger on what exactly it feels like to feel ugly. But I’ve also noticed that I have been congratulated when I’m doing something to change my appearance toward a more accepted beauty standard. Whether it was being put on a strict diet by my doctor at fourteen and being applauded by a group of women at Weight Watchers every week when I lost a pound, or whether it was the remark a friend’s mum made at a wedding when she told me she was so glad I started being good to my skin. The last time she saw me, she said, I was “looking unwell.”
This new distance between yourself and your reflection, put there by whatever moral compass you live by and however you’ve breeched it, is the feeling they were talking about. There are some shitty things we do that make us feel shitty about ourselves, which might spill over into the way we feel about how we look. So you sent a nude to your best-friends ex? That’s bad. You walked out of an independent restaurant and you know they forgot to put the mains on the check? Not great.
From the cover of her debut album Portfolio (1977) to her fabled disco nights at Studio 54, her visage was perpetually awash in Technicolor pigments swaths of midnight blue shadow on the lids, fiery rouge on the cheeks graduating up to brows and punctuated by Cleopatra-esque winged eyeliner, hyperbolized arches, and dark bordeaux lips. And through the next decade, blurring New Wave, disco, and reggae with dance floor hits like “Pull Up to the Bumper” and “Slave to the Rhythm,” she kept pushing beauty boundaries even on screen, as a fully decked out Bond girl with overt sex appeal in A View to a Kill (1985) and as a surrealist stripper with a flair for off-kilter visual statements (shocking red wigs! Silver-tipped talons! Metallic violet lips!) and mosaic body art painted by artist Keith Haring in Vamp (1986). Since her ’80s heyday, Jones hasn’t stopped serving up rapturous sounds and stylings from another universe. Here, a look back at her most enduring beauty looks.
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