Makeup designer David Forrest took on the challenge of creating a frumpy, early 1960’s teen look that could be viewed as attractive to the audiences of 1987. But that’s a different blog post. Today, I’ll be looking at how Forrest tells the story of Baby’s progression from innocence to experience through makeup design.
We first see Baby as she appears throughout the majority of the film: a fresh-faced, makeup-free look. Jennifer Grey’s complexion is near perfect, leading me to doubt much was used for this most basic corrective makeup, especially when we see her in close-ups. Extra color may have been added to keep Grey from washing out on camera, but as we can see from her trademark natural curls, the simple look is completely intentional.
This hairstyle is a part of her character. We know from the first line of the film that Baby had never been in love before, or she would never “find a guy as great as [her] dad.” Then she meets Johnny Castle, the gorgeous resort dance instructor, and that spark of passion finally ignites within Baby, setting her on her journey of inner growth.
In fact, when she is trying on wigs with her sister, she rips the trendy wig off and fluffs her curls when Johnny appears, implying her natural hairstyle is an essential part of her character.
Later, Baby agrees to help Penny get an abortion. Her look hasn’t changed yet, since being sympathetic and generous is already a part of her character, and this story isn’t about Baby learning to be more sympathetic; it’s about her growing out of innocence. This progression is nurtured in how she chooses to help Penny, by replacing her in a mambo act with Johnny.
As Baby learns to dance, she simultaneously learns to let go of the restrictions of her youth, trading in her square cut dress and cardigan for a much more flirtatious but still overall natural look. By the end of the montage, Baby has stolen her sister’s lipstick and puts it on before going up to see Johnny. We later learn that the shade of lipstick was a “nude iridescent.” She is putting more effort into her look now that we have seen before, but she still chooses a natural, not glamorous look.
The makeup tells a more subtle story than the costuming in this film, making it a bit harder to detect the design used in Baby’s look to support the progression of the story.
By this point, there is real chemistry between Baby and Johnny. Penny does her hair and makeup for the Sheldrake performance, brushing it out and fasting her curls into a tight, restricted French twist. Her makeup resembles Penny’s bright showgirl glamour makeup, making her look garish and harsh. She is hardly recognizable to the audience, perhaps a good thing in their case since Baby isn’t where she is supposed to be. The contrast in this look emphasizes Baby’s nervousness and discomfort during the big dance number.
Baby changes into a more familiar look in the car on the way back to Kellerman’s with Johnny, and she shakes down her hair, fluffing out her now softly swooping curls around her face. Her look instantly relaxes into Baby’s best look, the natural glamour makeup. It seems as if her garish lipstick has worn off, as a pretty pink tint remains. The eyeliner seems less harsh with her hair down. She has found a way to be passionate and glamorous while remaining true to her core convictions.
Now, Baby doesn’t just go on the rest of the film glamorized. She resembles a real girl, she doesn’t sleep in makeup! Johnny recognizes this unique trait of hers when he asks her her real name, implying he cares enough about her to want to know.
Summer is coming to an end, Johnny is framed for theft, and Francis, or as we have known her up until this point, “Baby,” can’t just let that be. She confesses to the true nature of her relationship in front of her father, causing Johnny to lose his job anyway. Her costuming returns to the frumpy sweaters and long skirts as she spends the last few days of her summer vacation thinking she would “never feeling the rest of [her] whole life the way [she] feels when [she’s] with [Johnny].” At this point, her costuming and makeup support the idea that Francis believes feelings of love and Johnny are mutually exclusive. Her look won’t change again until she and her sister get ready for the end of season talent show, where Lisa tries to make Francis feel better by offering to make her up for the event.
“I could do your hair, make it look pretty…no, you’re prettier your way.”
Lisa, Dirty Dancing 1987
Finally, somebody gets it besides Johnny! Thus, we get the complete Francis Houseman, her way on her terms. She decides to soften her curls, but leave her hair down, similar to the accidentally gorgeous (but actually on purpose, I have a feeling these carefree looks are no accident) way her hair fell after she took it out of the French knot earlier. She looks both mature and youthful, on the precipice of adulthood and real life experience.
Regan Shaw Design 