Last week was a whirlwind prepping for and working on makeup looks for two shows during Utah Fashion Week. For the swim wear show I was paired with the lovely Emily Smith for the debut of her new line Tanlines Swimwear. It was her first collection and her first time showing as a designer at fashion week and she blew me away!
I had a blast working on this show. My undergraduate degree is in marketing, so I LOVE when I get to work on jobs where I can pair my marketing skills and makeup artistry together. Emily was kind enough to indulge me and let me nerd out creating a little branding brief for her swimwear collection as it relates to makeup. You can browse through that here:
After going through the branding brief with Emily and tweaking some things to make sure it was on target with her vision, I took those concepts and made face charts for the show using my actual makeup products:
From there it was just planning the schedule, sending the models tons of logistical information and preparation tips, and getting my kit together for the show.
It was a bit chaotic the day of the show, but I think that’s just the nature of runway shows ;) I did the makeup for all six models, and Maddie B and her assistant whipped out some amazing braided hairstyles. Meanwhile, Emily and her team were busy sewing last-minute additions to the suits and styling the accessories.
We got everything done right in time for the first show to start. I was backstage doing last-minute touchups so I didn’t see the first show, but I got to pop in the for evening show and see the girls walk.
Admittedly I’m a bit biased, but I think our models were some of the best out there. They were styled wonderfully and all the elements came together for them to look like a cohesive collection rather than a bunch of random swimsuits made by the same person. Roxana Baker Photography snapped all the amazing shots that day:
It was such a fun experience working with this team and combining my passions.
If you all know anyone looking for branding + makeup please pass along my info! Whether it’s designing a character based off your script or coming up with a customer avatar for your new product line, I’d love to help your vision come to life!
The 2017 Academy Awards were last night, so naturally I spent the afternoon and evening analyzing red carpet looks and waiting to hear who won the award for Best Makeup and Hairstyling.
I aspire to do makeup at this level, so it’s important for me to keep tabs on the award-winning films for makeup and hair as well as what looks and techniques are winning on the red carpet.
For award shows, top level artists have to take into account all the various lighting scenarios their client will be in (daylight vs. harsh flash on the carpet vs. strong stage lighting, etc) and create a look that translates well in all of them. See how different Emma Stone looks, for example, in high flash against the pink backdrop vs. softer light on the white backdrop vs. accepting her award under stage lights:
On top of that, red carpet makeup artists are also creating something that will last, that flatters their client’s features, and that goes well with the hair and wardrobe choices for the client for that night. And many times the artists are doing all of this on a tight timeline while the client is multi-tasking and constantly moving in the artist’s chair.
It’s all very hard work. So hats off to the artists who worked the show last night! Here are some of my favorite looks from the evening:
I love red carpet makeup because it’s not only beautiful, but also intentional. The looks are designed to complement the client’s features, wardrobe and hair as well as fit the occasion and the various lighting situations. Everything is done intentionally and needs to flow together for the entire look to work out.
In contrast, I feel like the makeup trends floating around Instagram and social media right now are often over-the-top and lacking purpose—slathering makeup on in layers just for the sake of wearing more makeup without thinking about WHY. The end result is usually aging, cakey, and unflattering because there’s too much product and EVERYTHING on your face is competing for attention rather than bringing out your best features.
More of my thoughts on that in a future post, but for now I just wanted to celebrate some of my favorite red carpet looks from last night’s Oscars and tip my hat to those amazing artists.
Aside from my Tuesdays Picks every other week, another series I have going on my blog is Behind the Chair. It’s a collection of behind the scenes posts about different video shoots I’ve worked on and some interesting facts about what went on to bring it all together.
This week’s feature: the Owlet baby monitor commercial I got to work on this fall.
Fun Facts about this shoot:
The Good Line shot this in four locations over two days, but had to make it look like it was shot over a period of weeks. For my department, that meant several makeup, wardrobe, and hair changes to evoke the passage of time.
Normally with a shoot like this, each different scene is planned factoring in the lighting conditions and changes, the set and location timeline, and the actor’s timeline so we’re not doubling up our work having to change things back and forth unnecessarily.
Turns out babies are divas on set though. They won’t take cues or listen to directions and they demand to be fed constantly. ;) So in this shoot we had to work around the each baby’s schedule, and we ended up having to change scenes back and forth several times depending on when we could get the baby to sleep.
That meant several make up, wardrobe and hair changes back and forth, as well as complicated lighting changes since we had to black out rooms and mimic moonlight coming through the window as soon as the baby fell asleep.
Here are a few of the daytime makeup and hair looks I got to do for the commercial:
We also had to make sure the babies were filmed sleeping on their backs because of liability reasons for the company. None of the actor’s babies actually sleep on their backs in real life, so it was a challenge to get them to do it for the shoot. For one of the infants we ended up putting the crib sheet on the master bed (with a crew member on each corner holding it flat) laying the baby down on her side until she fell asleep, and then gently trying to roll her over without waking her up. In a closeup shot it gives the illusion of her sleeping on her back in the crib, but that single shot took over an hour to capture! By the time we wrapped with Day 2 it was past 1:30 am.
So in summary, life lesson learned: if you’re planning a shoot with babies, leave at least double the time you think you need to get the shot so you have room to accommodate their mood and schedule. And if you’re a makeup artist on one of these shoots, be prepared for a lot of “hurry up and wait” as you try to do quick changes in between scenes and then wait around on call while the baby does its thing .