Issue link: https://digital.copcomm.com/i/1546047
46 • THE ARTISAN FALL 2026 A pple/Sony's For All Mankind was one of the greatest gifts of my career. It was a show that challenged me creatively every single season and took me on a journey I never could have imagined. More importantly, it was a collaborative experience shared with an incredibly talented team of artists who poured their hearts into every episode. From authentic period make-up and subtle decade-by-decade aging to the creation of full silicone age prosthetics in our final seasons, the series continually pushed us to evolve as artists. The premise of the series asked a fascinating question: What if the global space race had never ended? Instead of history unfolding as we know it, the series explored an alternate timeline where the competition to conquer space continued for decades. Every season pushed humanity—and our characters—further into the future. From a make-up perspective, the series was unlike anything I had ever experienced. Season 1 began in 1967. Before I designed a single look, I traveled to Texas to immerse myself in NASA's history. I spent days in local libraries researching newspaper archives, photographs, and historical documents, searching for anything that could help us recreate the authenticity of that era. NASA had a very distinctive appearance. Astronauts and military pilots were impeccably groomed—clean-shaven, disciplined, with short sideburns and conservative haircuts. Outside the gates of NASA, however, America looked completely different. The late 1960s were defined by the emerging counterculture. Longer sideburns, mutton chops, mustaches, and more relaxed hair styles became an important contrast to the rigid military appearance of NASA personnel. FOR ALL MANKIND A N A LT E R N AT E H I S T O RY PHOTOS COURTESY OF APPLE TV B Y E R I N K O P L O W D E P A R T M E N T H E A D M A K E - U P LATE 20s Karen Baldwin (palyed by Shantel VanSanten)