At a time when a star's screen appearance was a significant function of the studio's image machine, Guilaroff's skills crafted distinctive looks, which came to be identifiable with the stars for which they were conceived.
Guilaroff maintained his most formidable undertaking had been his work for the 1938 film Marie Antoinette, for which 2,000 court wigs were required and an additional 3,000 wigs for the extra players [REF].