When Sam Mendes announced the casting of the women at the center of his ambitious four-part Beatles biopic project, the response was immediate and intense. Pattie Boyd, Yoko Ono, Linda Eastman, and Maureen Cox are not footnotes in Beatles history. They were witnesses, collaborators, muses, and in many ways, co-authors of the era’s mythology.

With production still years away and official images yet to surface, curiosity has naturally shifted to a simple question:

What might these actresses look like once fully transformed into their real-life counterparts?

Using early casting news as a jumping-off point, we explored a series of AI-generated visual studies imagining how the actresses could be styled in a 1960s context. These images are not official, final, or predictive. They are rough, conceptual exercises. Mood boards more than mockups.

Think of them as visual placeholders while we wait for the real thing.

Aimee Lou Wood as Pattie Boyd

Pattie Boyd’s look in the mid-1960s was inseparable from the era itself. Straight blonde hair with blunt bangs, soft pastels, minimal makeup, and an almost porcelain delicacy that became synonymous with Swinging London.

In our conceptual render, Aimee Lou Wood is imagined with Boyd’s signature fringe and understated Mod styling. The emphasis is on softness rather than glamour. Less rock-and-roll excess, more quiet presence.

If Mendes leans into authenticity over iconography, Boyd’s style will likely feel restrained and period-correct rather than exaggerated.

Anna Sawai as Yoko Ono

Yoko Ono’s early public image predates the oversized sunglasses and all-black uniform that would later define her. In the late ’60s, her look was spare, intellectual, and deeply personal.

The visual concept here strips things back almost entirely. Natural hair, minimal styling, and a calm, direct gaze. Black-and-white felt appropriate, not as a stylistic flourish, but as a way to avoid over-interpreting a figure who is so often misrepresented.

Sawai’s casting suggests Mendes may approach Ono with nuance rather than mythology. The visuals reflect that restraint.

Saoirse Ronan as Linda Eastman

Before she was Linda McCartney, she was Linda Eastman. Photographer. New Yorker. Observer.

Our imagined styling for Ronan leans into that pre-fame period. Natural freckles, soft waves, simple clothing, and an unpolished warmth that feels more documentary than cinematic.

Eastman’s style was never performative. If the films capture that, Ronan’s transformation may be one of the most subtle and grounded of the four.

Mia McKenna-Bruce as Maureen Cox

Maureen Cox’s public image is less codified than the others, but early photographs show a sharp-eyed, self-possessed presence that contrasts with later Beatles-era excess.

The concept here imagines McKenna-Bruce with heavy fringe, understated makeup, and a monochrome palette. It’s intimate rather than iconic. Less “Beatles wife,” more young woman navigating sudden proximity to fame.

It’s likely Maureen’s story will benefit from this quieter approach.

Looking Ahead

With Sony targeting an April 2028 release and Mendes’ four-film structure still largely under wraps, these women remain the emotional anchors of the story.

Official images will come. Wardrobe details will leak. Haircuts will be dissected frame by frame.

Until then, these concepts offer a quiet preview. Not a promise. Not a prediction.

Just a glimpse at what might be taking shape behind the scenes.