Issue link: https://digital.copcomm.com/i/1445703
THEARTISAN SPRING 2022 • 41 it pop. Eyeliner was a soft powder, then refined with a pencil close to the lash line. Mascara application was on top and slightly on the bottom. Lips were blocked out, using a pencil. Her full lips were lined into a smaller lip shape. Linda wore the '90s trendy dark lip liner, Rum Raisin, and pink or mauve tone lips. Slight frosty lipstick was a choice depending on the year. Under-eye bags were drawn on giving her slight aging under the eye. This created the appearance of exhaustion. The process of both prosthetics and beauty/character make-up goes hand-in-hand in achieving the complete design of Linda Tripp. For Linda's post-plastic surgery look, we added lifts to give a slight upward pull around her eyes. Contour shading was used up and around her cheekbones and jawline giving the appearance of weight loss and face reconstruction. Sarah's daily transformation was magic to me; her dedication was inspiring. BEANIE FELDSTEIN/MONICA LEWINSKY MAKE-UP | KARRIEANN SILLAY Beanie's progressions of looks were based on her relationship with President Clinton, and her ever-changing emotional state. Never having tweezed her eyebrows, baby steps were taken to ease into Monica's distinctive brows. Brow reshaping of inner corners and giving her an arch to open her eyes, reshaped and filled in the brows for more structure. Contouring her face and neck to shape without prosthetics was key. Bright, cheery colors were chosen to reflect her state of mind using trendy lines such as MAC, Revlon, and NARS. ANNALEIGH ASHFORD/PAULA JONES MAKE-UP | ROBIN BEAUCHESNE PROSTHETIC NOSE APPLICATION | KARRIEANN SILLAY Paula Jones lived in Little Rock, Arkansas. Her established sig- nature look is based directly on her small-town persona in the early 1990s. Paula had a specific eyeliner and eyebrow shape that stayed consistent throughout the years. Karrieann applied the nose prosthetic. I applied the make-up on top. It seemed natural to shape the eyebrows evenly, but the oppo- site was done creating a hook-like shape as if she tweezed them too much. Making the eyebrows different shapes—the thinnest black eyeliner on the upper lid and bottom lid and a touch of white liner on the bottom eyelid—took everyone back in time. Her lips were reshaped and we used '90s lip gloss. As her look changed, we added lashes and various nails. Braces were made and a nose job was soon to come. Bruising effects were used for her post plastic surgery nose job. Paula posed for Penthouse magazine in 2000. TARAN KILLMAN/STEVE JONES MAKE-UP | KARRIEANN SILLAY Steve had a very dramatic style and shape to his beard and mus- tache, with a sharp cropped edging on the top and a clean edge along his jawline. Taran came in with a full beard that was groomed and cut down to a three-day growth, a distinct look from the '90s. JUDITH LIGHT/SUSAN MCMILLAN MAKE-UP | ANGELA MOSS Susan McMillan was Paula Jones' lawyer. Marc Traynor face-lifts were used to pinpoint specific areas to achieve the perfect pull and shape around the forehead. Lifting her eyes slightly and attaching a second set of lifts helped to shape her eyes. Additional lifts near the cheekbone and jawline defined these facial features. Once her foundation was applied, precision contour and high- light was applied tying the look together. Susan had a fashion flare with many looks, wearing heavier eye make-up. Using MAC frosty white pigment on the center of the eyelid to pop the eye, the brow bone was then darkened. Full strip lashes was the final touch on the eye. Eyebrows, eyeliner, multiple lipstick colors and nails accentuated the look. Blue contacts gave the design its signature detail. A distinguished woman of power, Judith said, "I don't want to look amazing, I want to look like Susan McMillan." EDIE FALCO/HILLARY CLINTON MAKE-UP | ANGELA MOOS Hillary Clinton had a softness to her overall look. Edie was open to trying various things for her transformation. Marc Traynor face-lifts were used on her forehead to achieve a more rounded eye. Nose definition and reshaping was a key feature to create a narrow shape. Five shades of contour created a sculpted jawline and cheekbones. Highlight and blush completed the soft overall tone. Eyebrows were reshaped and darkened using soft-colored eyeshadow. Individual eyelashes were applied and placed giving a pop around the eye to keep the round eye shape. Lips had shape added using pink and coral tones. Nails in various colors were cus- tom shaped and painted to match all of her beautiful costumes. MARGO MARTINDALE/LUCIANNE GOLDBERG MAKE-UP | ROBIN BEAUCHESNE Margo is all-in when creating a look for her character. Lucianne didn't wear a lot of make-up, but had a distinct heavy eye make- up. A bit of pink base tone was the foundation color, the addition of a few different peach blush tones added warmth to her overall look. Margo has dark eyebrows that were lightened and topped with a slight blonde/red tone. Eyeshadow was very specific using a taupe/gray tone just on the lid. Carrying the color outward reshaped her eye. Eyeliner on top and the bottom eyeliner slightly extended angling straight past the corner of the eye. I smudged the bottom eyeliner to create a smaller eye shape. Her lip line was L-R: Kelly Golden, Michelle Ceglia and Chris Hampton touching up Sarah Paulson; Chris Hampton touching up Sarah Paulson as Linda Tripp. Continued on page 42