Issue link: https://digital.copcomm.com/i/1530961
38 • THE ARTISAN SPRING 2025 Several standout looks emerged from this creative collaboration. Cleo's make-up changed with nearly every wardrobe switch, incorporating variations of white eyeshadow and bold eyeliner as her signature touch— always a statement of her individuality. Our director, Alma Har'el, loved the white eyeshadow, which influenced our creative choices. Another notable detail was the fake mole, or "beauty mark," oen associated with 1960s Black culture. We used it mainly for her work looks, embodying her "bad b*tch" mode. e Pharaoh Club looks balanced period accuracy with individual flair, while the dramatic dream sequences demanded we strike a balance between fantasy and authenticity. In Episode 7, Cleo disguises herself as a man. For that look, I hand-laid finely chopped Afro tech into a pencil mustache with sideburns to create a believable effect. Make-up artist John Damiani suggested that technique for me. Episode 7 had more than seven looks and a gender change alone. Managing these detailed looks required careful time management. Each day, I estimated how long each changeover would take and adapted to on-set changes. I'm glad we didn't take the easy route and keep the looks the same for cross-shooting. Instead, we embraced the challenge, resulting in every scene looking like a runway moment for Cleo. Costume designer Shiona Turini provided stunning wardrobes, which motivated Amber and me to step up our game. Moses wanted Cleo to always look like a model, and we "ate" that challenge, leaving no crumbs. Creating make-up for deep complexions comes with unique challenges, starting with proper skin prep. I developed Daddy Cool Skin Support to target hyperpigmentation and provide the glow needed for a flawless canvas. For foundation, I used a custom mix of Danessa Myricks Vision Cover, Too Faced Born is Way Concealer, and Clé de Peau Concealer. I applied Danessa Myricks Cushion Colors as a base for the eyes, topped with my go-to Viseart Matte Neutral Palette. e eyeliner was Inglot AMC Gel, and lashes were built from House of Lashes and Ardell. Since heavy contouring wasn't typical for the period, I opted for a subtle "invisible" contour using Fenty Bronzers. Lips were kept neutral, lined with MAC Dipdown Gel Eyeliner or Ben Nye Dark Brown Brow Pencil, blended with nude shades from Danessa Myricks Nude Lip & Cheek Palette. e most inspiring part of this journey was watching Moses transform in front of the mirror, truly becoming Cleo layer by layer. For me, that's the essence of make-up artistry—building confidence, telling a story, and creating a character from the skin out. Working synergistically with the entire team, the department heads, and other personal artists on the show is key to success. ank you, Claudia, Heba, John and Gina for everything! Behind the Brush B Y H E B A T H O R I S D O T T I R P E R S O N A L M A K E - U P A R T I S T T O N A T A L I E P O R T M A N As the personal make-up artist for Natalie Portman, I had the opportunity to collaborate with an incredible team, including hair designer Kim Santantonio, Department Head Make-up Claudia Humburg, and her right hand, John Damiani. Department Head Hair Jose Zamora, along with the make-up and hair team for Moses Ingram, Cool Benson and Amber Hamilton, also played key roles. My work involved transforming Natalie's appearance to reflect different periods, specifically her as a teenager in the 1950s and later as a suburban housewife in Baltimore in the mid-1960s, alongside creating imaginative looks for fantasy dream sequences. To evoke the 1950s, I applied dewy, natural make-up. In 1966, Natalie's character transitioned into a housewife in Baltimore, leaving her husband to become a writer, which reflected her slow unraveling. For this period, I used heavier foundation, bolder eye make-up, and applied eyelashes from Dark Swan of Denmark, finishing with nude lipstick. We also created fun fantasy and dream sequences, one of which featured an elaborate surrealistic full-body make-up design by Claudia, which we both applied on Natalie. Claudia's striking body make-up design had to adhere to the period while accommodating an elaborate dance sequence, while I designed her face make-up to reflect her vision. Working on this series was a rewarding experience, and collaborating with Kim, Claudia, and the make-up department was instrumental in achieving the visual goals of the series. is project highlighted the importance of teamwork and creativity in bringing a story to life through make-up, hair, and costumes. • L-R: Mikey Madison playing Judith Weinstein with Natalie Portman Heba Thorisdottir applying make-up to Natalie Portman