Margot Tenenbaum is the adopted, chain-smoking, literary genius who won a Braverman grant at age 11. An elegant yet enigmatic character, Margot’s rebellious nature contradicts her conservative dress sense, which consists of a luxurious fur coat, Lacoste dress and a Birkin bag, paired perfectly with the cigarette constantly clasped between her fingers. Instantly recognisable by her kohl-rimmed eyes and sleek blonde bob (permanently pulled to the side with a single red barrette), Margot also sports a slightly stained lip, with a hint of colour on her cheekbones.
An unconventional and out-of-the box character, the delightful Rita is unpredictable and surprising, and someone who doesn’t fit into any clichéd role. Her eyes are accentuated by thick black lines bordering them, and the conspicuously bright blue eyeshadow underscores the unexpected facets of her persona, synchronising seamlessly with the pop of Rita’s turquoise, traditional dress.
12-year-old Suzy Bishop epitomises that time in every girl’s life when adolescent angst is still mixed with fantastical childhood wonder in this coming of age film. Her elegant dresses clash with knee-high white socks and bowling sneakers, an aesthetic that is emblematic of that not-a-girl-not-yet-a-woman tumult of emotions. Suzy’s look is fresh-faced and natural, except for a soft peach lip and eyelids adorned with a somewhat transgressive teal-hued eyeshadow.
In this 13-minute short that preludes The Darjeeling Limited, Natalie Portman assumes the role of the unnamed and antagonistic girlfriend of Jason Schwartzman, as Anderson plays with subverting traditional gender roles in a fight for dominance in their relationship. The character’s outfit of neutral greys and typically masculine pixie cut compliment her commanding personality, yet there seems to be an underlying softness in her naturally beautiful face. Bold brows and subtly shadowed eyes display a chic sophistication, however, a dash of pink on the lip and slightly blushed cheeks reaffirm the character’s femininity.
Considered as one of Anderson’s finest works, Rushmore sees Olivia Williams play a plain looking yet attractive, widowed teacher and object of infatuation of both 15-year-old student Max Fischer and more age appropriate Herman Blume. Barefaced except for her flushed cheeks, Rosemary Cross is naturally luminous with poreless (to the point of looking porcelain) skin.
Perpetually in khaki clothing as though she’s about to embark on a safari tour, hard-hitting reporter Jane presents a tough exterior. Pregnant and constantly chewing on a stick of gum, Jane’s hair is pulled back in a sun-kissed plait that’s as golden as her complexion. Blanchett also sports a nude lip and what seems to be an under eye concealer which brightens up her face and guarantees that there are no dark circles or bags in sight.
Tilda Swinton is unrecognisable as 84-year-old aristocrat and wealthy widow Madame D in the eccentric world of Anderson’s action-comedy. Glamorous and exuding eminence, Madame D’s attire and look befit her grand stature. Her lips are covered in a deep yet bright rouge and her hair (which is full of secrets as we later find out) is piled-high in an elaborate and pearly white pouf. And even though the skin of the octogenarian’s face is nearly concealed by liver spots, it still retains a creamy and almost translucent texture, with Madame D’s overall appearance as immaculate as that of a woman half her age.