Over the years, Barbara Palvin Sprouse has established herself a dream glam team: with hairstylist Owen Gould and makeup artist Tobi Henney, the model has crafted a timeless, celestial kind of red carpet look. And with countless carpets, work trips, and glitzy engagements across a decade with the team, it was only right that Barbara’s surprise pregnancy reveal at the Cannes Film Festival 2026 was the model at her most radiant.
Barbara Palvin Sprouse and Dylan Sprouse announced on Instagram that they are expecting their first child together on Thursday, and made the grand reveal at the film festival later. Barbara wore a baby blue, feather-hemmed dress and cradled her bump. Her complexion was poreless and illuminated with a soft bronzed contour, her golden-brunette hair falling loose and voluminous.
“We both wanted it to be flawless glam that was classic, and something we could look back on and feel timeless,” says Henney. “We both love natural, flawless skin. Not too heavy of course. Barbara being European and me being Australian, we appreciate a more effortless, natural approach to most glams we do.” They both love a feline flick of eyeliner and a pop of color on her cheeks. Beauty, of late, has been late ’90s inspired with cool-toned brown lip-liners and eyeshadows.
For Cannes, Henney shares that Barbara wanted her look to be “an elevated version of her beauty look we do a lot.” She had pulled some images of a matte eye with cream on the lid and a cool brown tone on the crease. “The main feature we wanted to play up was the lashes, as the carpet lighting and flashes are so strong, it would really accentuate her beautiful eye shape,” she says.
Henney used some longtime fave products. Skin was cleansed with Bioderma, then she massaged Rhode Glazing Milk into the skin and Augustinus Bader cream. La Mer was the eye cream used under the eyes for hydration. Saie Super Glow Gel in Warm Glow dialed up her illuminated skin, and the base foundation was Armani Luminous Silk. Concealer was Nars Creamy Concealer and helped with brightening. For chiseling cheekbones and accentuating the outer eye shape, Henney painted on some Makeup By Mario cream bronzer and used the Westman Atelier Contour Stick.
For Palvin Sprouse’s strong, feathery brows, she used the Anastasia Beverly Hills Archbrow Pencil and Maybelline Eyebrow Gel. Lashes were curled and cool Mac Cosmetics cream eyeshadows were pressed onto the lid and crease, with Makeup By Mario shades layered on top. Adding a cluster of Lashify lashes to pull out the eye shape, some delicate layers of mascara were added and an Inglot liner exaggerated that feline flick.
Blush and bronzer was classic and warming, layering Charlotte Tilbury and YSL bronzers with a YSL blush. A Chanel Baume Essentiel helped with sculpting.
Next, lips were a combo of Mac’s Cool Spice and Patrick Ta’s Shy. For body hydration and glow, Josie Maran body butter mixed with Mac’s Strobe Cream and Patrick Ta’s Major Glow balm for extra shine on the tops of cheeks and collar bones. Charlotte Tilbury and Huda Beauty powders set everything. Henney used her trademark beauty makeup brushes to apply the products and blend everything.
Leaning into the model’s pregnancy radiance, Henney really wanted to focus on that “lit from within glow and flush that looked natural and ethereal.” “Channeling ‘mother to be’. It was such a special glam I’ll remember forever,” she says.
Hair, meanwhile, was crafted by Owen Gould. “Barbara has always had this incredible ability to make glamour feel effortless, which is honestly my favourite kind of beauty,” he shares with Vogue. “Over the past 12 years working together, I think we’ve refined her look into something that feels very modern bombshell. Polished but not overdone. I always try to keep a softness somewhere, whether it’s movement around the face [or] touchable texture. Her signature look is really healthy, luxurious hair. Even when we go sleek.”
For her Cannes look, Gould kept things luminous and high-gloss, ‘soft supermodel.’ “Because the moment itself was so powerful, we didn’t want the hair competing with anything,” he says. He started by prepping the hair with Moroccanoil Moisture Repair Shampoo and Conditioner to create a really smooth, healthy foundation. Next, he layered in the Moroccanoil Treatment through mid-lengths and ends for shine and softness that didn’t weigh the hair down.
For volume and structure, Moroccan Oil Volumizing Mousse at the roots and lightly through the crown was added before blow drying in sections with a large round brush. “The key is tension and direction. I always over direct sections for lift while keeping the surface really polished,” Gould says. And once the blowout was finished, he refined the shape using a large-barrel iron just through the mids and ends to create that subtle bend and movement: “Then I brushed everything out thoroughly so it felt seamless and expensive rather than overly styled.”
To finish, he used the Moroccanoil Dry Texture Spray underneath for airy fullness and separation, then locked everything in with Moroccanoil Luminous Hairspray Strong for hold without losing movement or shine.
Humidity and wind are the most significant red carpet challenge when at Cannes—that Croisette gets hectic. “The biggest trick is building structure into the hair,” explains Gould. “If the blowout foundation is right, the style lasts so much longer.”
“You want shine, but too much slip can make the style collapse faster in humidity or wind,” he adds. Instead, he’ll use lighter layers of product throughout styling and then finish with a flexible but strong hairspray—like Moroccanoil Luminous Hairspray Strong.
“And honestly, a great red carpet hair moment should still move naturally in the wind. Sometimes those slightly undone moments are what make it feel the most beautiful.” A glam that, truly, captured a moment.
This article was originally published on Vogue.com.
