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Beetlejuice Beetlejuice keeps the returning characters recognizable while giving the afterlife’s new arrivals more room for grotesque, comic transformations. Hair and makeup department head Christine Blundell worked with director Tim Burton, the cast, cinematographer Haris Zambarloukos and creature-effects supervisor Neal Scanlan, combining practical makeup, wigs and hairpieces with prosthetics. The result preserves familiar shapes and colors but changes texture, detail and finish to suit the sequel.
How the sequel balanced familiar looks with new ones
For Beetlejuice, Lydia and Delia, the central challenge was continuity: their defining looks needed to call back to the 1988 film without simply repeating every detail. The new afterlife characters offered more freedom for exaggerated makeup and prosthetic construction. Blundell’s team developed the looks collaboratively, including with Burton and the actors, while coordinating with the prosthetics department where the work overlapped. Warner Bros.’ official film page lists Blundell and Scanlan among the creative team.
Hair and makeup established color, surface and character-specific styling; larger facial constructions and attachments crossed into prosthetics. Blundell described the makeup and prosthetics teams as collaborating on about 30 percent of the afterlife work, a production estimate rather than an independently audited figure. The teams hid joins where departments met and assigned smaller in-kit effects to makeup when practical, leaving larger pieces such as swollen heads or exposed brains to prosthetics.
Beetlejuice: the same recognizable face, made grimier
Beetlejuice was not meant to look as if he had aged: as an undead character, he needed to remain close to his original design. The familiar purple and black around the eyes and pale white-yellow complexion stayed, while the sequel made the surface dirtier and more decomposed. His hair was a little longer and mossier. Blundell said the makeup base was grease paint; no specific brand was identified.
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Lydia: a fringe that keeps her in the original film’s time
For Lydia’s Ghost House with Lydia Deetz television show, the hair deliberately suggests that she is still connected to the original film’s era. The spiky fringe is a faux fringe attached to a hairpiece and blended with Winona Ryder’s own hair. It softens somewhat in later scenes, but keeps Lydia’s eccentric silhouette. Her makeup was designed to look lived-in rather than freshly precise.
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Delia: six custom red wigs
Catherine O’Hara’s Delia wears six custom-cut and colored wigs. They began in copper shades, then shifted toward a more vivid, progressively unhinged look after O’Hara favored a bolder direction. Blundell’s team deepened the color to titian red and custom-cut and colored the wigs. The count and process were reported by Blundell in 2024 interviews with Allure and The Credits / Motion Picture Association.
Astrid: deliberately understated
Astrid’s hair and makeup were designed to contrast with Lydia’s theatrical styling. Blundell aimed for Astrid to look as though she wore almost no makeup, using a little concealer if needed and lip balm. Her hair was casual and scruffy rather than carefully sculpted. That restraint makes her feel like a different kind of presence in the Deetz family, not another variation on Lydia’s visual eccentricity.
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Delores and the afterlife’s comic prosthetics
Delores’s look was developed jointly by makeup and prosthetics. Blundell described its inspiration as the Bride of Frankenstein being put back together: makeup is smeared down the face, and a long wig replaces the frizzy hair one might expect. The deliberately assembled quality makes the character read as both undead and pieced together.
For Willem Dafoe’s character, the prosthetic effect was intentionally crude and old-fashioned for comedy. Blundell worked on the hair and makeup, the intact half of the face, and hiding the joins. Across these afterlife looks, the practical-effects approach was not one universal technique; the scale of the construction determined how makeup and prosthetics divided the work.
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What to know if you want to recreate the look
The documented production approach points to categories of materials, not specific retail products or exact wig models. For a Beetlejuice-inspired face, pale greasepaint and dark eye makeup can evoke the broad color contrast; theatrical makeup requires care around the eyes and should be used according to its labeling. Lydia’s fringe and Delia’s sculpted color depend on hairpieces or wigs, but the production did not identify consumer-ready models or brands. The film’s custom pieces should not be mistaken for a particular off-the-shelf product.
For further production context, Warner Bros. Studios Leavesden describes the production’s homage to the original through collaborative costume and makeup work.
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