AaronShirt LLC - Official Fogo Com Maresia T-Shirts

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But in terms of how we treat our body, an attempt at moral purity is both impossible and useless. It was the conundrum of my twenties to care about fat positivity and also understand the realities of life when it comes to my aching knees. It’s still a conundrum to me now. And when it comes to matters of the body in society there is no morally pure way to be. The bad parts of society win when we internalize a moral code or a beauty standard that is designed to make us fail.

For more than half a century, cinephiles and silver-screen darlings have flocked to the Cannes Film Festival, which debuts the biggest and most boundary-pushing new films of note. Wardrobe choices have run the gamut throughout the event’s 72 years who can forget the epicene effect of Aymeline Valade’s Pallas tuxedo, worn at the premiere of 2014’s Saint Laurent biopic with a freshly platinum dye job? while hair and makeup have trod a similarly versatile line between glamour and ease.

From the cover of her debut album Portfolio (1977) to her fabled disco nights at Studio 54, her visage was perpetually awash in Technicolor pigments swaths of midnight blue shadow on the lids, fiery rouge on the cheeks graduating up to brows and punctuated by Cleopatra-esque winged eyeliner, hyperbolized arches, and dark bordeaux lips. And through the next decade, blurring New Wave, disco, and reggae with dance floor hits like “Pull Up to the Bumper” and “Slave to the Rhythm,” she kept pushing beauty boundaries even on screen, as a fully decked out Bond girl with overt sex appeal in A View to a Kill (1985) and as a surrealist stripper with a flair for off-kilter visual statements (shocking red wigs! Silver-tipped talons! Metallic violet lips!) and mosaic body art painted by artist Keith Haring in Vamp (1986). Since her ’80s heyday, Jones hasn’t stopped serving up rapturous sounds and stylings from another universe. Here, a look back at her most enduring beauty looks.

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