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To achieve Jones’ look, Forsythe used Milk Hydro Primer, Lancôme foundation, MAC Blacktrack eyeliner, Gucci brow pencil with Anastasia of Beverly Hills Brow Freeze, Wander Cheeks and lips, Urban Decay All Night Setting Spray, Ardell Individual Lashes and Tatcha Moisturizer for dewiness. As soon as she became famous, this was the brand she wanted to portray to the world – and she is still that person today when we see her.” “Cherry’s character had to show off her stature.
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Having Cherry Jones in Forsythe’s chair meant deciding what the character’s level of physical upkeep was (“her skin’s texture, does she take care of herself”), how she presented her glowing “statement look” and how to best portray upscale demeanor.
“That’s when it gets truly transformative.”
“We build each character in our mind, as much in-prep as possible until we get the actor in our chair,” she said. For Jones’ wig – built by wigmaker Christal Schanes but cut, colored and styled by Dagenais – he found a color of pearl ash grey that was “cool-white, for a refined, chic look rather than dull, and used a Shades EQ toner on the wig in the shade 9V to ice it up.”įor her part, makeup artist Forsythe spoke of an actress’ level of immersion into the world of “Poker Face” as richly metamorphic. To go with Field’s stark blacks, whites and reds, Dagenais heightened Jones’ “polish” with Oribe hair products like Super Fine Strong Hair Spray. “If actors had an idea, we could hash it out quickly,” said Dagenais. “Natasha also wanted the character’s hair to have fringe, but Cherry thought it worked better showing more of her face without fringe.”īoth Dagenais and Forsythe use “shorthand” to describe their past working with Lyonne, and the direct access they had during her “Orpheus” directing time. “Natasha envisioned ‘Laura’ having a severe white bob, very regimented and glamorous,” said Dagenais. “Because a guest like Jones’ stint is so short, they really come to play.”ĭagenais recalled that during Jones’ on-set time that she was a “no-muss, no-fuss” woman game to bring life to Lyonne’s idea of the character. “There’s always deliberation in order to pinpoint who the character is and what they look like, with great input from the actor,” said Dagenais of the transformation process. In consultation with Field and director Lyonne (“it’s not often you have an episode’s director in your chair every morning,” said Forsythe), “Poker Face”’s hair and makeup departments worked their magic. I used my favorite women’s brands on Cherry: Max Mara, Carolina Herrera, Etro, Akris, Natori, and, shhhhhh, my secret weapon, Amazon. Visual storytelling is key with a character like Laura – you want her to be an instant read. “I wanted ‘Laura’ to feel like money just entered the room. “Cherry’s ‘Laura’ was inspired by Cruella de Vil – perfectly dressed, sinister, oh-so-chic,” said costume designer Trayce Gigi Field.
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Forsythe and hair department head Marcel Dagenais – both worked with Lyonne on her “Russian Doll” series – to transform Jones’ usual earth-mother beauty into something stark and haughtily haute couture.
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