It was German philosopher Friedrich Nietzsche who provided the sentiment that framed the Marc Jacobs AW22 show this week. “We share our choices in contrast to the ongoing brutality and ugliness of a world beyond our insulated but not impermeable walls,” Jacobs quoted in a note entitled ‘Choice’. “We have art in order not to die of the truth.” 

Coming just days after the overturning of Roe v Wade in the US and the threat against other hard-won rights like gay marriage, the general mood was bleak. It was impossible not to read the note, and the collection, in relation to recent events. The beauty in particular conveyed a dystopian atmosphere: sitting between the aesthetics of The Girl with the Dragon Tattoo, Yolandi from Die Antwoord, and cyborgs, the beauty was harsh and extreme. Brows were nowhere to be seen, while the head was shaved on the sides, leaving not much more than a blunt fringe and long strands at the back, courtesy of hairstylist Duffy. 

Make-up was more minimal, with just a simple gothic black liner by Diane Kendal keeping the attention on the hair and disappeared brows. “Marc wanted to create a futuristic gothic element to continue from the last collection,” explains Kendal, who says the make-up enhanced the gothic side of the collection while the hair kept the models looking futuristic. These themes are something that Kendal predicts will be recurring as we move forward. “I think we’ll see elements of punk and goth returning. Especially in the current political and social climate.”

But it was the SFX make-up that really was the star of the show. Led by Noel Jacoboni, the prosthetics team created bald looks for key models including Bella and Gigi Hadid, before wigs were put on by Duffy. 

To create the look, Jacoboni first prepped the models’ skin around the face along the hairline. Then the bald caps were applied. “When you use a bald cap and adhesive it adds a lot of texture to the skin and we needed to make sure to make it as smooth as possible so that it was seamless on the runway,” she explains. “Bald caps are a very delicate process that has a lot of room for error.” 

If the temperature isn’t correct in the room or the model has it on for too long, she says, the vinyl in the cap stretches and causes wrinkles. “It was a constant challenge but we overcame it to keep them cool and keep those caps as tight as possible.” Next came the colouring process where different layers of make-up are applied to the top of the bald cap prosthetic to mimic skin. “Then quite a bit of flecking and dimension to give the skin the illusion of looking real with texture.”    

Jacoboni and her team used Krylon bald caps and derma colour foundation buffed onto the prosthetic paints to blend with Kendal’s make-up look and the products she used on the models’ faces. “There’s a fine line between getting it glued on properly to where it stays put all day and making it blend perfectly with the natural skin of the model.

See the full collection in the gallery above and read the full fashion report here.