By Jia Lissa 
Netflix’s ambitious adaptation of John Steinbeck’s seminal 1952 novel, East of Eden, has rapidly ascended to become one of the year’s most talked-about television events. The series, masterfully crafted by Zoe Kazan—granddaughter of Elia Kazan, who helmed the first onscreen interpretation in 1955—boldly centers its multigenerational saga on the character of Cathy Ames, portrayed with chilling intensity by Florence Pugh. This reimagining delves into Cathy’s complex agency and the depths of her perceived evil from a fresh, nuanced perspective. Pugh’s performance is undeniably the show’s magnetic core, amplified by a meticulously designed hair and makeup strategy that serves as a powerful visual lexicon for Cathy’s ever-shifting identity and the passage of time.
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The intricate task of crafting beauty looks across four distinct decades fell to co-hair and makeup designers Nancy Hennah and Sarah Rubano. " ‘East of Eden’ unfolds over 43 years, so our beauty vision had to evolve with the characters and align with the prevailing fashion of each era," explains Hennah. The narrative commences in post-Civil War New England, introducing viewers to Cyrus Trask and his sons, Adam and Charles. The audience witnesses their transformation from boyhood through adolescence into manhood, a trajectory violently disrupted by the arrival of a bloodied Cathy Ames on their family farm. By the series’ conclusion, set in the 1910s, the world is poised on the brink of World War I, marking a profound temporal shift.
Hennah and Rubano engaged in close collaboration with the show’s art and costume departments. Their research involved delving into historical references to anchor the characters in a tangible realism throughout their respective life stages. "We prioritized the script over the book for our primary references," states Rubano. "Zoe [Kazan] provided exceptionally descriptive insights and had very clear visions for most of the characters."
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The Artistry Behind Cathy Ames’s Evolution
Florence Pugh’s personal on-set hair and makeup team, working in concert with Hennah and Rubano, also embraced the challenge of historical accuracy. Hairstylist Jaime Leigh McIntosh deliberately eschewed hot tools when styling Pugh’s wigs, opting instead to "wet set the hair to create texture." Makeup artist Heba Thorisdottir, meanwhile, had to contend with the limited availability of commercially produced cosmetics in the late 19th century, the period in which the series begins. As Cathy’s life unfolds and she assumes the persona of "Kate," a brothel owner, the increasing accessibility of makeup becomes a poignant reflection of her character arc. "The evolving availability of cosmetics perfectly paralleled Cathy’s transformation into Kate and her subsequent embrace of makeup," Thorisdottir observes.
Kazan’s adaptation positions Cathy as a figure driven by a relentless pursuit of power and autonomy, expertly manipulating the men in her life to achieve her aims. Her beauty becomes a strategic weapon, and a close examination of her appearance reveals subtle cosmetic cues that underscore her motivations and power plays. McIntosh and Thorisdottir have provided insights into the specific hair and makeup details that might have been overlooked, with the caveat that spoilers follow.
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Cathy’s Initial Guise: The Innocent Facade
McIntosh emphasizes the importance of Cathy’s hair mirroring the changing realities of her life. "I needed to define her starting point and her end point, then meticulously chart the journey between them to understand how we transition from A to B," she explains, noting her keen awareness of "the passage of time" in designing Pugh’s hairstyles across the more than 40-year span of the narrative.
Pugh sported three distinct wigs throughout the series, all crafted by the skilled wigmaker Samuel James. The first wig is employed during Cathy’s time in Boston with Mr. Edwards, a brothel owner with whom she becomes involved; when she arrives, injured, at the Trask farm; and subsequently at the Salinas Valley ranch in California, where she settles with Adam Trask.
The initial wig is characterized by a lighter hue, representing a natural progression from Cathy’s youthful blonde to a more mature, yet still remarkably natural, adult shade. "Our intention was for the color to be a darker blonde than her childhood hair, but to retain an incredibly natural appearance with sun-kissed lighter ends," McIntosh elaborates.
When Cathy first arrives at the Trask farm, nursing injuries including a fractured wrist, her hair is deliberately left down. This choice is both practical and symbolic. "We reasoned that the most she could manage physically was to brush it, so we kept it loose and natural," McIntosh explains. "As she began to heal, we transitioned to softer, half-up styles, maintaining a practical, effortless, and gentle aesthetic." The inclusion of wisps and flyaways in her hair during this period further contributes to her perceived vulnerability, a calculated presentation to Adam to foster trust and ultimately lead to their marriage.
Cathy’s hair accessories also serve as significant indicators of her psychological state and social positioning. "When we see Cathy in Boston, she is young and presenting an image of beauty and innocence. We strategically incorporated an Alice in Wonderland-inspired blue ribbon in her hair during key moments," McIntosh reveals.
While residing on the farm, Cathy wears hand-me-down clothing from Mrs. Trask, maintaining an outward appearance of innocence and helplessness. "I used small pieces of fabric, torn into ribbons, to tie her hair back," McIntosh shares. "One such ribbon was even crafted from the bloodied dress she arrived in. It was a subtle detail, a shared secret between Florence and me, intended to go unnoticed unless specifically pointed out."
The Artifice of a Youthful Glow
In the early episodes, Cathy’s makeup is designed to complement her unassuming hairstyle, emphasizing a "skin-first" approach. "For her younger look, I diluted the [Westman Atelier] stick foundation with Beau Domaine The Cream to create a subtle wash of color," Thorisdottir notes. The illusion of her faux-naiveté is further enhanced by a flushed complexion and rosy lips, achieved with Westman Atelier’s Baby Cheeks Blush Stick in Petal and HydroBalm Tinted Lipstick in English Rose. Thorisdottir has since become a devoted user of English Rose, employing it on at least one actor in every subsequent project. "It’s the perfect nude for this skin tone," she asserts.
Pugh’s active participation was instrumental in shaping Cathy’s beauty transformations. "Florence’s authentic approach to her acting sets the tone for my work," Thorisdottir observes. "She is equally comfortable on camera with or without makeup, provided it serves the scene’s integrity." Pugh consistently grants the makeup artist the creative freedom to develop looks before discussing character nuances, embodying a spirit of collaborative exploration. "If it makes sense, she’s game," Thorisdottir adds.
The Descent into Madame Kate
The narrative takes a dramatic turn when Adam offers Cathy refuge, but after bearing his children, she experiences a profound loss of agency, feeling trapped by domesticity. In a desperate bid to reclaim her identity, Cathy shoots Adam and abandons her sons, seeking to re-establish herself as a sex worker in Salinas.
Upon arriving at the brothel owned by Faye (Martha Plimpton), Cathy is taken in. "It’s not until we see Cathy at Faye’s that we observe the first significant shift [in her hair]," McIntosh explains. "When she encounters Faye, she initially wears her signature blue ribbon, presenting herself as she did to Mr. Edwards. Gradually, we witness her metamorphosis into Kate."
A detail extracted from Steinbeck’s novel directly influenced the design of Cathy’s second wig. The town sheriff recognizes her from a portrait and strikes a deal: she will adopt a new identity, and he will protect her secret if she departs her family unharmed. "Once the sheriff advises her to darken her hair, she is presenting herself to the world as Kate, no longer Cathy," McIntosh explains. "This second wig was meticulously constructed to be identical to the first, but then I dyed it. I intentionally avoided using naturally darker brown hair; instead, I wanted to color it as Kate would have, to exert greater control over the final outcome."
As Kate establishes herself at Faye’s brothel, she experiments with various hairstyles and shapes. "One morning, I created a style featuring two prominent peaks at the top of her head, which Florence found particularly compelling," McIntosh recounts. "We affectionately nicknamed this look ‘kitten ears,’ and this motif evolves and becomes more pronounced with Kate throughout the remainder of the series."
The Reign of Madame Kate
By the time Kate assumes ownership of the brothel, time has advanced, and her final wig closely approximates her natural hair color. Reflecting her reduced exposure to daylight, this wig is darker and features visible streaks of gray. "As she manages the brothel and is no longer actively working within it, her styling becomes more intricate," says McIntosh. "I also considered the geographical context. She is not in Paris, London, or New York, so I never opted for overly elaborate or perfectly coiffed styles."
As Cathy blossoms into her most potent self, "Florence delighted in the concept of Kate wearing tiara-like hair accessories—symbolizing her reign as the queen of her domain and her absolute control over her world," McIntosh shares. In collaboration with costume designer Kirsty Cameron, McIntosh sourced a collection of hairpins, crowns, and embellishments, including unique pieces handcrafted by New Zealand artist Daughters of July.
As Madame Kate embraces her newfound power and affluence, Thorisdottir envisioned her engaging with the emerging makeup trends of the early 1900s. "While makeup products may not have been readily available in Salinas, her clientele likely traveled and engaged in trade, potentially providing her with access to cosmetics before others in the town," Thorisdottir posits. She discovered a personal favorite during her time filming in New Zealand: "I was introduced to Westman Atelier and found it exceptional. [Gucci Westman’s] foundations were a perfect match for nearly all of Cathy’s looks, from her youth to her later years."
In episode six, titled "The Great Try," Kate sports her most striking red lipstick of the series—a stark contrast to the innocent Cathy of previous episodes and a particular favorite of Thorisdottir. "For the red lips, I blended Le Rouge Français 010 with MAC Russian Red, a shade that has been a staple in my kit since I worked on ‘Inglourious Basterds’," she reveals.
The series finale, "Tinshel," depicts the unraveling of Kate’s empire, a descent mirrored in her appearance. "In her final moments, we wanted Kate to appear somewhat disheveled," says McIntosh. "We also aimed to retain those ‘kitten ears,’ essentially creating a crown of hair upon her head. The half-up style also echoes the younger Cathy whom she confronts at the very end."
In a departure from typical production goals, where makeup is designed for endurance, Thorisdottir intentionally sought a different effect. "I wanted the makeup to break down and move with her," she explains. Thorisdottir admits to a particular fondness for Cathy’s appearance in the final scene, adorned in jewelry, embracing her younger self. "She wears another breathtaking costume, her hair is long and disheveled with the ‘kitten ears’ styling, and her makeup is completely broken down. That scene is incredibly powerful. I was in awe watching it unfold before me."
