Big Hair, High Society: The Role of Hair and Makeup in Palm Royale

“There was one mantra we kept coming back to,” Tricia Sawyer, makeup department head tells The Sybarite. “More is more.” From the opening sequence to the final episode, Palm Royale leans into the rich aesthetic of the era. Unlike other period pieces, which can veer into costume-party territory, every curl and contour tells a story. The result is a beauty team firing on all cylinders, balancing historical accuracy with a touch of playfulness.

To bring each character to life, they had their own specific references. Maxine pulled from Sharon Tate, Britt Ekland and Jane Fonda. Dinah, played by Leslie Bibb, was very Casino-era Sharon Stone, while Allison Janney’s sly Evelyn possessed an icy, Bewitched-style grandeur. Every character’s makeup told you exactly who they were before they uttered a single line. Maxine’s colour palette was anchored in cheerful pinks, peaches and oranges, exuding warmth and optimism, with just a hint of desperation.

“We wanted her to look aspirational, but never fully assimilated,” Sawyer explains. “She’s polished, but not quite Palm Beach-polished.” Evelyn, on the other hand, was cast in cool blue and turquoise tones, befitting her social dominance.

Subtlety is not something the show embodies, with every scene exuding a sense of exaggerated grandeur. “1969 was a beautiful period for makeup with the colours and the lashes,” Sawyer says. Pastel eyeshadows and bold eyeliner reigned supreme, which gave the team freedom to be daring. This was a creative liberty they happily embraced, and then some. But if makeup laid the foundation, it was the hairstyles that sealed the fantasy.

According to the show’s hair department head Karen Bartek, the original visual brief from creator Abe Sylvia was clear: “He wanted the whole thing to feel like a Slim Aarons photograph.” This meant vibrant, elevated and iconic. The references came thick and fast: Jackie O, Charo, Raquel Welch. Each character had their own shorthand and every wig and coif was part of the performance. “We used a lot of wigs, which helped with the fast-paced schedule, but it also gave us incredible control,” says Bartek. For Maxine, the styling always told the story of her longing to belong. “She’s a woman from a small town trying to pass as old-money Palm Beach,” Bartek explains. “Her look was polished, but slightly quirky and younger, lacking the upper class ‘put together’ look.” There was always the underlying implication that she was trying too hard, which was entirely intentional.

In stark contrast, Evelyn’s hair, created by stylist Jill Crosby, embraced size and scale. “She went big, then bigger, then even bigger,” Bartek jokes, before adding that it was a “staple” of the show. Her visual excess and gravity-defying wigs became a metaphor for Evelyn’s status in high society.

Behind the aesthetics was a fierce commitment to detail. Period beauty at this scale doesn’t come without challenges, and continuity was a big one. Scenes were often shot months apart, so thousands of reference photos were taken to ensure precision. Every person on screen, from background extras to leads, went through the full works.

“We’re talking nails, facial hair, tattoo cover-ups, lashes, everything,” Sawyer says. “And we hired from the very talented pool of make-up artists from IATSE local 706 to make it happen,” she adds, referring to Los Angeles’ official guild for artists and stylists. This collaboration was constant and crucial, extending well beyond the beauty trailer.

“Karen and I have worked together for a long time,” says Sawyer, before noting their shared instinct for “bouncing off each other with colours and styles.” Bartek has equal praise for Sawyer, referring to the “harmonious rhythm” of their creative processes, alongside their collaboration with the show’s costume designer, Alix Friedberg. And at the centre of it all? Abe Sylvia, the show’s creator.

Describing him as a “true visionary”, Sawyer recalls the joy of bringing his ideas to life while working on the show. “He was incredibly collaborative and had a really clear vision which we all worked together to bring to life.” As for their favourite looks? Both heads pause before agreeing: “There are so many. But the opening sequence in season two... you’ll have to see it for yourself.”

Naturally, no spoilers. But just know that Palm Royale isn’t done dazzling us yet.