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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.
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.
“Her aesthetic is very natural and fresh, but for Cannes we wanted to be a little bit more dramatic and fun,” says Barose. “I wanted to make the lips look soft with a pop of color, kind of like the way the color would look on a flower petal it’s bright, but still translucent and sheer.” Barose eschewed sticks and glosses in favor of Eisenberg Paris’s Fusion Balm in Nacarat, the subtle coral tint a perfect (and perfectly unplanned) pairing to Gladstone’s earrings from Native American designer Jamie Okuma.
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