Jaylan Sara shares standout costume and hair and makeup designs from the first half of this year.
A compelling and intense set competition for the best movie of 2024 has begun. Here, I’ll take a deep dive into the movies I enjoyed watching or had the most flattering hair, makeup, and costume ensembles. The rock star black, leather, and spandex of Fayed Lausa (Austin Butler), the dreadlocks of Bob Marley (Kingsley Ben-Adir), or the cold, creamy, pasty of Longlegs (Nicolas Cage) The faces, costumes, hair, and makeup enhance the movie. Elevate it to a higher level of existence or bury it in the garbage dump.
Some movies benefit from detailed coverage of costumes, hair, and makeup, while others don’t.
That makes it difficult for a research critic like me to dig deep and discover all the details of what makes a particular film special and why it deserves nominations in its respective hair, makeup, and costume categories. Nevertheless, it’s always interesting to highlight the perfect movies for the right reasons. Some of my least favorite movies have great work done in the costume department (sorry, The Great Gatsby), and some of my least favorite movies have great work done in the costume and makeup departments (sorry, The Great Gatsby), and some of my least favorite movies have great work done in the costume and makeup departments. and trivial or banal (anyone remember Prince Caspian?)
Here’s a list of the top costumes, hair, and makeup for 2024. Please tell us about yourself.
Dune: Part 2
Dune: Part Two is amazing with its amazing hairwork, natural, nude skin tones, and desert skin. The Fremen, who harbor the secrets of the desert planet Arrakis, wear a veil over their heads and faces, giving the appearance of always hiding their faces from the sun.
Jacqueline West is a costume poet. Her individually designed works create a superworld within the existing world, meticulously crafted for screening by veteran director Denis Villeneuve, based on Frank Herbert’s novel. From Chani’s (Zendaya) caftan-inspired natural fiber Sietch wardrobe to Lady Jessica’s (Rebecca Ferguson) Tuareg-inspired modest outfits made of linen and gauze, West wears a variety of shades. Don’t hesitate to build a world with . A beige nun-like headdress and a bondage-style Harkonnen house.
Dune: Part 2 The Hair Game is another story told by the Paul Edmonds team. Chani’s hair needs to look soft and earthy, seemingly in harmony with the harsh sand and sun that dominate desert planets like Arrakis. Fade’s bald head takes hours in the makeup chair, but it also has to emphasize his sexuality and rock star power. Hiding your eyebrows will make your character look more evil. On a colorless planet like Giedi Prime, Lady Margot Fenring’s (Léa Seydoux) hair should be light blonde, like desert sand. In contrast, Lady Jessica’s hair had to be long with multiple extensions and perfectly color matched to the first film.
This attention to detail creates space opera masterpieces, but unlike other sci-fi movies where space hair means extra wild, punk hair, the power of the Dune Universe is made up of subtleties and ochre-and-brown hair. Located in desert shades.
Bob Marley: One Love
Biopics will always be the kings and queens of costume, hair, and makeup awards. In Bob Marley: One Love by Reynaldo Marcus Green, authenticity and attention to how real people look and dress are key to reggae’s colorful and vibrant world. I am. The hair and makeup team based the actors’ looks on real-life actors, but also worked on manipulating certain details. Because Kingsley Ben-Adir is a giant compared to the real Marley, his clothes needed to create a distinct illusion of a smaller frame, all of which were used in films such as Schindler’s List and All thanks to the magic of legendary costume designer Anna Biedrzycka-Shepard, famous for her work on “Maleficent.” .
Ben-Adir had to wear a wig to portray Marley’s famous dreadlocks. Without the magic of hair and make-up artists Carla Farmer and Morris Aberdeen, it could have been a farce. The makeup team also walked a fine line between the natural, stripped-down nature of the I-threes (Marley’s trio of backup female vocalists who provide harmony to the group) and making each member unique. Work was done. The makeup team used a clean, natural, girl-appealing look with as little foundation as possible to emphasize the woman’s earthy beauty. Marcia Griffiths, played by Naomi Cowan, applied mascara, lipstick, and foundation with a small fluffy brush for a gorgeous look. Judy Mowat, played by Anna Shea Blake, was all about ignoring perfection and showing off the naturalness of her pregnant character on stage, with a touch of glossier blush. “tree”
bike riders
There’s no denying that The Bikeriders brought back 60’s biker culture. Apart from Jeff Nichols’ direction, the hair and makeup team is critical in bringing the magic to the screen.
Dried grease under the fingernails, aesthetics achieve the look of rubbed-off grease and dry dirt on all bikers, covering the heavily inked actors with makeup, leaving the bikers in their so-called cleanest condition, It still looked filthy. This aesthetic was Ashley Chavis’ mission on the set of Bike Riders, diluting the dazzling Austin Butler’s charm, reducing distraction from the biker grunge surrounding him, and ruining Norman Reedus’ teeth. , which turned British Jodie Comer into a tough Midwestern wife.
Costume designer Erin Benack, known for designing iconic movie jackets, and her team scoured vintage stores and aged jeans to create a masterpiece using costumes that look like they’ve been worn every day for years. Benac and his team overdyed all the denim (jackets, jeans, vests) in shades of teal to make it look like the bikers hadn’t showered or changed clothes. Spraying or painting mud or dirt enhances the muddy and dust-caked look that Chavis wanted on the bikers, making the bikers tired, road-weary, and dirty. I can now see it. A good costume designer knows when to dress up or dress up a character. Benack does just that with each actor in his cast, analyzing them according to their personalities and using Danny Lyon’s reference books for guidance.
long legs
Longlegs is a controversial film that brings together a diverse group of people around the same campfire, reminiscing about a terrifying Satan-worshipping serial killer and his morbid similarities to his parents’ childhood fears. I have succeeded in doing so. So creating a character who was a bridge between a nurturing, inclusive parent and a washed-up rock star was a work of genius. Micah Cade’s costume design relies on the contrast between the flour-white faded presence of long legs and the darkness that surrounds Agent Lee Harker (Maika Monroe), depicting buried trauma and an evil presence. It creates a gloomy environment for living creatures.
There’s nothing more frightening than fading rock star charm. The idea of sexy punk hair, makeup, and overall cooler-than-cool, gender-defying hair and makeup has become increasingly creepy as rock stars lose their aura, youthful vibe, and glamorous publicity. It turns into something morbid. So to create that look, department head Felix Fox and special make-up effects artist Harlow MacFarlane worked with director Osgood Perkins to create the look, drawing on Nic Cage’s intense theories about the character. I needed to soothe.
Cage has been heavily influenced by European cinema, both in his acting choices and in imagining the role as an androgynous figure lying close to time. This vision was inspired by Perkins’ idea that Longlegs’ face would become a mask for his identity, his botched plastic surgery, his pale complexion, his wild, unruly gray hair, all made to look not only tormented but also sadistic and desolate. It does not completely conflict with Perkins’ idea of holding existence together. It was the result of the madness of an old-school movie scientist frustrated with the limits of science, but in the case of long legs, it was the limits of plastic surgery at the time.
Furiosa: Mad Max Saga
Awards season brings a lot of conversation to whet the appetite of the average modern viewer. Actors sit in the makeup chair for hours to achieve a complete transformation, movie stars sacrifice their beauty to create layers of dirt and grime, as if their characters have spent years in the desert’s scorching heat. His face is shaped as if he has wasted his life. Furiosa: The Mad Max Saga carries the legacy of George Miller’s post-apocalyptic fictional world, Chris Hemsworth’s prosthetic nose, and Anya Taylor-Joy’s bald prosthetic arm. Giving the character a coppery glow that allowed her to shine despite the look of oil and grease on her forehead was one of makeup and hair designer Leslie Vanderwalt’s main goals. The paint makes the eyes stand out, and the brilliance that makes the characters shine against the saturated color grading.
Costume designer Jenny Bevan explains that as a writer, Miller is heavily involved in the process before actors are cast, so their involvement becomes less influential. She chose old parachutes, tents, and other items to use as fabric for the film’s costumes to perfectly reflect the harshness of the wasteland, the gruesome effects the desert has on clothing and people, and the wisdom of those who live beneath it. I described the rough assembly of a hospital stretcher. I learned to be in a state. A professional like Bevan fully understands how to share the concept of the world she’s creating through costumes, skulls and animal bones, but as a costume designer she’s attached to Furiosa. We also know how to dress up familiar characters. You can express a certain actress by dressing another actress.
