Alex Box, Bal Garland, Christopher Shannon discussed on Fat Mascara
Said that you'd notice a lack of playfulness in the industry when you entered. And you were coming in with a very different perspective. Now, that was ten years ago. Fast forward to today, do you still feel there's a lack of playfulness? No way. I mean, it's amazing now. I have to comment on all the amazing makeup artists that when I did get into makeup at the beginning were very inspiring, like Alex box. Pat McGrath. She's my parents, Alex. Oh, she's so great. She was a huge inspiration to me because she really was doing a lot of really amazing kind of colorful painting, interesting work, bal Garland, obviously, Peter Phillips, topolino, there's like loads of people, you know, so to say people was doing were doing boring stuff is not fair because they really were. But I think maybe in hindsight we're talking like ten years ago, maybe what I brought to it was just a kind of a bit more of an uneducated approach, a kind of an outsider approach where I was sort of tackling the face, not as a face to take the makeup, but make up to take a face. So I was trying to abstract the face all the time. I was kind of putting paint and almost not even using the face in the way it kind of maybe should have been. And I think that just was a slightly different perspective. And it was really young. I was like, I was 20. And I think they were, you know, just that sort of playful attitude. Maybe came through. Yeah. You mentioned that shoot where you were like, the clay cleaner and painter. And there was the proper makeup artist. Was that like a breaking moment where you decided to make the switch or did you have a big break where like ID then booked you as the face painter, not the body painter? Like, what was your big break? Well, after that, I got booked by designer called Christopher Shannon in British designer, he did menswear. And I and I did face painting in his shows, and I drew the I painted these kind of landscapes on the model's faces as they were going down the runway, like sunsets and stuff. And backstage I met and I make a part is called Adam de Cruz, and he was like, what is this girl doing? Like, I've never seen this kind of thing before. And he was like, look, do you want to do you want to join me on set for a day? You can see how I work and you can show me some of your techniques. So we kind of did that and I went and he showed me how to conceal and do a little bit of kind of basic stuff. And then I showed him some of my blending and doing other things, whatever in the body painting style. And then I just kind of, I don't even know really what came next. I think I just was in a circle where there were photographers and people around me who were testing and working for free and doing shoots and it was amazing like creative time in London where everybody was just working for free and testing all the time. And I just kind of, yeah, linked up with some people and brought my very small kit. To certain stuff and just kind of went from there, really. Is your kit still small? No, my kids. My kids like, oh like 70 a like 90 kilos or something, 80 kilo. Oh wow. In multiple roles, how do you travel? Yeah, I carry it and these like Burton snowboard, suitcases, my friend and mother makeup artist, so she loves those bags. Oh, they're the best, yeah. So yeah, sometimes snowboard bag. Who are some of the other people at this time in London that you're collaborating with at this point, you've collaborated art, musicians, other makeup artists. What are some that feel really personal to you? I mean, I think some of the post like all kind of testing and whatever. Some of my sort of biggest breaks I think were the beginning with ID magazine. And I did some great shoots with Daniel sandwood. Where we did and Simon foxton the stylist where we were kind of, I got to, I got to do a lot of really cool painting stuff I like tattooed, all these funny sort of characters all over a boy, and then I did this prosthetic lizard face for another shoot for interview magazine and interview magazine also I did quite a lot of fun stuff for and it really was like every time I got booked, there was something really like full on colorful, crazy. And that was really nice. And then shows as well. I remember Aggie and Sam. I did these LEGO masks where I was like, the whole thing was inspired by kind of kids, and so I was like, how would kids approach your face? Well, they probably just chuck something at it, wouldn't they? And just see what lands. So that's kind of what I did. I chucked LEGO at face and just stuck it where it kind of landed and so it was all just about kind of exploring interesting ways of approaching the face, I guess. So now you're talking about your vibe is so different than really any other makeup artist that we've certainly interviewed. And we've contributed a ton of makeup artists. You have a really singular vision, you know, no one else is talking about shocking Legos at a face. For fashion show, you know? But you're talking about in the beginning, like you're working these very editorial gigs and now you've worked with so many massive corporate designers and corporate fashion houses that are.