It was German philosopher Friedrich Nietzsche who provided the sentiment that framed the Marc Jacobs AW22 show this week. “We share our decisions in contrast to the continuing brutality and ugliness of a world beyond our insulated but not impermeable partitions,” Jacobs quoted in a note entitled ‘Selection’. “Now we have art so as to not die of the reality.” 

Coming just days after the overturning of Roe v Wade within the US and the threat against other hard-won rights like gay marriage, the final mood was bleak. It was unimaginable to not read the note, and the gathering, in relation to recent events. The wonder specifically conveyed a dystopian atmosphere: sitting between the aesthetics of The Girl with the Dragon Tattoo, Yolandi from Die Antwoord, and cyborgs, the sweetness was harsh and extreme. Brows were nowhere to be seen, while the pinnacle was shaved on the edges, leaving not way more than a blunt fringe and long strands on the back, courtesy of hairstylist Duffy. 

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

Nevertheless it was the SFX make-up that actually 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 placed on by Duffy. 

To create the look, Jacoboni first prepped the models’ skin across the face along the hairline. Then the bald caps were applied. “Whenever you use a bald cap and adhesive it adds plenty of texture to the skin and we wanted to make certain to make it as smooth as possible in order that it was seamless on the runway,” she explains. “Bald caps are a really delicate process that has plenty of room for error.” 

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

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

See the complete collection within the gallery above and browse the complete fashion report here.