Roughly speaking, the looks that had characterized the emergence of the Young Americans album after the trial run of the David Live album. Some looks that would evolve rapidly into the Thin White Duke's icy, minimalist coded postures, from the Station to Station album.
A period during which the former extra-terrestrial Ziggy, having momentarily become the new Young American King Of Disposable Plastic Soul, finally let his eyebrows grow back during the Station to Station album's transitional period. Thus burying, once and for all, the last stigma of this "Aladdin Sane" epoch of formal hyper creativity, when Bowie's shaved off eyebrows gave birth to an extreme weirdo’s allure, with prominent hairless eyebrow arches that over shone due to heavy orange or fuchsia make-up gloss. A look to which Bowie’s status of fallen alien from another planet (Mars?), owed much unquestionnably... 

But due to Bowie’s perpetual mutation, and his artistic (if not business) strategy of ever-changing looks, the Young Americans paraphernalia was already history by early 1976. Bowie had then started his next transformation, very far from the Young Americans’ funky, luxurious, shimmering, silky and smooth sounds. Station to Station’s hardcore metal funk heralded his departure from the United States and his return to the European shores, traveling physically and artistically towards what would become his famous "Berlin" trilogy. Namely, Low, "Heroes" and Lodger. This perhaps explains that -at least in part. 

Having understood In the spring of 1976 that nothing would ever come out of this work dedicated to David Bowie, I produced an alternative sleeve for the Young Americans album’s successor, Station to Station. I unwisely loathed its original cover at the time, because it just had nothing to do with the Young Americans era's looks – a crime that I must thus repair ... Obviously I totally missed the importance of Bowie’s artistic evolution with this record specifically in his career's scope, and of the movie The Man Who Fell To Earth.