Jenny Shircore designed Williams' makeup to look like no-makeup makeup. Shircore used shadowing and contouring to reshape the actress' face to appear less round and longer, like Monroe's.
Shircore also had to reshape Williams' eyes which she says have a much smaller lid than Monroe had. By using various tones of foundation to shade the area and white eye shadow across the lid, Williams' eyes appear a little more sultry and seductive. Williams' naturally green-brown eye color was altered to blue in post production.
The actress decided against contact lenses and any kind of prosthetics so they didn't interfere with her performance. "She wanted to capture the essence of Marilyn without forcing her face where it just didn't want to go," Shircore says. "She also didn't want to wear red lipstick as it seemed too glamorous considering we were capturing Marilyn's private life. She wore a red lip in the very last scene when she returns to Hollywood. It's like putting your mask back on to face everything — the glamour and the glitz."
Rahel Afiley had the thankless task of being the costume designer for His Frogness and friends' return to the big screen — thankless not only because most people would barely notice if Kermit turned up without clothes on but also because whatever clothes ultimately do end being worn by Muppet or human cast member, they're inevitably forced to compete for attention against a lot of focus-pulling animated fabric creatures.
That makes the clothes that do catch our attention all the more memorable — like the matching two-button, notch-lapel powder blue suits with contrast taped pockets Jason Segel's character and his Muppet sibling ("Mibling?) Walter wear in an early musical number, and which Afiley created after batting around a few ideas with director James Bobin. "We thought it was funny, sort of a reference to the '70s. It had that kind of '70s feel like someone was living in the past, but at the same time the suits had a current cut," Afiley says. (Not unlike a certain bunch of Muppets).
There were other fashion moments too, with Afiley tapping fashion designer Zac Posen to design the dress Miss Piggy wears for her "Rainbow Connection" performance and having Brooks Brothers design a frog-appropriate tuxedo for Kermit.
But in my estimation, the best fashion in joke of the whole movie (besides Piggy's new job as plus-size editor of French Vogue) was to have none other than Christian Louboutin himself create a pair of his red-soled heels expressly for the porcine princess to wear.
— Adam Tschorn
Have you ever heard of an equine makeup artist? Neither had I, until I read the production notes for "War Horse," which opens Christmas Day. But it makes sense. Steven Spielberg's epic film is about a young Englishman named Albert (Jeremy Irvine), who enlists in World War I after his beloved horse Joey is sold into cavalry, and the horse's journey through war-torn Europe. The cast of horses was every bit as important as the cast of humans.
There were 12 horses that played Joey, each one trained to do a different action, and they all had to look identical with four white socks and a white "star" on the forehead. That's where equine makeup artist Charlie Rogers came in. Apparently, it took 45 minutes to get each horse into makeup.
With all the battle scenes in the film — based on Michael Morpurgo's 1982 novel "War Horse," which was adapted into a stage play in 2007 — making costumes was an enormous task for Joanna Johnston. She fashioned 1,400 military uniforms for British and German soldiers.
The Imperial War Museums in London turned out to be an invaluable resource for photographic research, as well as every type of clothing, from helmets to boots. "We had to hit all the right looks for the right dates, and everything had to be aged," Johnston says. And she had only eight weeks to do it.
She even helped some of the actors get into character by sewing good luck charms on the insides of their uniforms, something many soldiers did during World War I.
Another piece of the costume puzzle was wardrobing Albert's rural farm family, including his mother Rose (Emily Watson). Johnston enhanced the simplicity and the texture of their costumes to match their environs in the Devon countryside.
"Strong but feminine, that was Rosie. I wanted that make-do-and-mend mentality," she says. She had a special wool woven in Scotland to use for Rosie's long skirts and designed original prints for her feminine blouses.
In a respite from the war, the horse stops briefly to live with a French farmer and his granddaughter Emilie (Celine Buckens), who wears sweetly embroidered dresses. "I had a whole back story about her mother having been an elegant woman. When I'm designing costumes, I love to have a back story, whether it really exists in the script, or I just make it up."