Issue link: https://digital.copcomm.com/i/1530961
THE ARTISAN SPRING 2025 • 37 LADY IN THE LAKE CAPTURING TIME, NARRATIVE, AND UNIQUE JOURNEYS Decades of Beauty B Y C L A U D I A H U M B U R G D E P A R T M E N T H E A D M A K E - U P My recent work on Lady in the Lake, a limited TV series on Apple TV, showcased the ability to authentically capture the essence of multiple decades while focusing on individualized character portrayal. e series, primarily set in the 1960s, featured flashbacks to the 1940s and 1950s and forward into the 1970s, alongside intensive dream sequences with fantastical make-up and body painting designs. In preparing for this project, I emphasized the importance of researching and gathering inspiration to create authentic 1960s looks. However, I placed even greater importance on capturing the unique essence of each character. Rather than solely focusing on the era, my make-up designs were tailored to support each character's narrative and personal journey. us, the make-up played a supportive role in enhancing the storytelling. One particularly challenging task involved designing several transformative looks for David Corenswet's character, Allan Durst. His character aged from 17 to 34 throughout the series, which required me to implement significant make-up changes to reflect his progression, including a fake beard and subtle aging effects. For Jennifer Mogbock's character, Dora Carter, I carefully managed the make-up to portray her as a beautiful and talented singer, avoiding an exaggerated addict look. Similarly, Masha Mashkova's character, Ms. Zawadzkie, had make-up that highlighted her struggles and challenges. e make-up design for Judith Weinstein, played by Mickey Maison, was inspired by Janis Joplin, reflecting a "no make-up" look with slight nuances to insinuate a "stoner" vibe. I craed Myrtle Summer's character with a late 1950s aesthetic to portray her as a seasoned political figure who wouldn't have readily updated her look with changing times. In addition to individual make-up designs, I orchestrated group looks for significant scenes. For instance, the burlesque dancers required stage make-up to set a vibrant scene, while the Pharaoh Jazz Club showcased traditional 1960s make-up reminiscent of the jazz era, complete with facial hair applications and grooming. e Hecht department store scene allowed for beautiful 1960s fashion-inspired make-up. roughout production, I collaborated closely with director Alma Har'el, hair designer Jose Zamora, and costume designer Shiona Turini to ensure that the overall aesthetic was period-accurate and cohesive. Daily interactions with these departments were crucial in achieving the show's creative vision. My work on Lady in the Lake stands as a testament to my dedication to character-driven make-up design, capturing the nuances of each role while transporting viewers through the vibrant decades portrayed in the series. Creating Iconic Looks B Y C O O L B E N S O N P E R S O N A L M A K E - U P A R T I S T T O M O S E S I N G R A M Working as Moses Ingram's personal make-up artist on Lady in the Lake was about more than just applying makeup; it was about craing a character from the inside out. Aer meeting Moses on the set of Star Wars: Obi-Wan Kenobi, our bond quickly evolved into something familial, with me taking on a protective "papa bear" role on set. is connection was crucial as Moses immersed herself in the emotionally and physically demanding role of Cleo. My goal was to create a safe and empowering environment for her to fully inhabit her character while maintaining the integrity of her look throughout each scene. e creative process revolved around collaboration. Since Moses joined the project late, replacing Lupita Nyong'o, we had no time for test days and had to jump straight into filming. Our looks were created and shot on the same day. Moses and I discussed Cleo's essence and how she should be perceived onscreen. Hair stylist Amber Hamilton and I teamed up to develop Cleo's look, oen joking about how there was never a dull moment on set. e synergy among the three of us made the process both productive and enjoyable, even under pressure. Cleo's make-up had to reflect the evolving decades from the 1950s to the 1970s. Inspired by iconic women of color and Black fashion model Donyale Luna, I created looks that complemented Moses's features and complexion. I considered factors like the scene's setting and lighting, as these elements greatly impacted the final appearance. Cool Benson applying make-up to Moses Ingram