As explored in the new Sex Pistols miniseries "Pistol," directed by Danny Boyle, the punk subculture flipped the script on fashion, music and especially beauty.

Instead of being used as tools for physical improvement, hair and makeup were suddenly severed from their typical mission: Appealing to a potential mate. In fact, they often became tools to dismantle sex appeal.

If the 1970s said hair should hang long and sit smooth, the punk aesthetic demanded gravity-defying spikes and teased, knotty textures. If mainstream makeup -- pioneered by the likes of Farrah Fawcett, Jerry Hall, Jane Birkin and Donna Summer -- dictated fresh, delicate skin, long lashes and lip gloss, punks buried their eyes under heavy rings of liquid eyeliner, painted their mouths with black lipstick and wrote phrases like "No future" on their foreheads.

Cheekbones and nose bridges were no longer a mandatory roadmap for bronzer or blush. Instead, to punks, they were a craggy terrain that only made the haphazard painting of rebellious phrases or abstract shapes all the more interesting.

Although it was firmly rejected in its traditional form, beauty was still a pillar of the movement. This made the job of "Pistol" makeup artist Ivana Primorac all the more challenging.