Grace Jones who became today has always had an unrivaled aesthetic eye. The singer’s Afrofuturistic image, as well as her voluptuous contralto and subversive stage presence, has been crafted and evolved in collaboration with French creator and former lover Jean-Paul Goode. While her cubist fashion, from the sharp-shouldered suits to the architectural dresses with directional headpieces worn by Philip Treacy, has always been a big part of the visual equation, her signature, transformable bodycon cuts and dreamy Her makeup makes her a beauty icon of all ages.
Born in Spanishtown, Jamaica and raised in upstate New York, Jones lived in New York City and trained her as a budding model Wilhelmina when she Completely shaved off all hair in the age of 60. “It made me seem more abstract and less connected to a particular race, gender or tribe,” she once said. “I’m black, but not black; woman, but not woman; American, but Jamaican; African, but science fiction.” At 80, she moved to Paris, The eclectic look won applause and has since become famous in one fell swoop. Modeling for Yves Saint Laurent and Kenzo, and posing for photographers such as Helmut Newton and Guy Bourdin, Jones treated her buzz to her turban like a sculpture, casting it into geometric shapes with delicate etchings, her The flat top ombré style became the most notorious. While her hair, and her lithe and muscular figure, often lean toward androgyny, her makeup lends her almond-shaped gaze, pyramid-sharp cheekbones, and pillowy mouth a super-goddess look.
From her debut album cover Portfolio (1977) to her At the Studio’s legendary disco nights , her face was perpetually flooded with color pigments – swathes of midnight blue shadow on her eyelids, fiery blush on her cheeks Gradually extended to the brows—and accented with Cleopatra-esque winged eyeliner, exaggerated arches, and deep bordeaux lips. Over the next decade, mixing new wave, disco, and reggae with dancefloor hits like “Pull Up to the Bumper” and “Slave to the Rhythm,” she continued to push the boundaries of beauty—even on screen. She’s also the girl who dresses up as Bond in A View to a Kill (1986) with obvious sex appeal , and incongruous visual statements as a surreal stripper with heterosexual flair (shocking red wig! silvery claws! metallic violet lips!) and artist Keith Haring in Vamp Mosaic body art drawn in (1986). Since her 80 heyday, Jones hasn’t stopped delivering ecstatic sounds and styles from another universe. Here, take a look back at her most enduring beauty looks.
