Daphne Guinness for MAC Q&A

Let’s go to the beginning, for you personally. Can you tell us about some of your first experiences with cosmetics?

Well to be honest, there wasn’t much makeup around when I was growing up! I never really thought of it. But I was always painting. Let me see...Did I paint myself? I tried to make myself look Japanese...I had a Japanese nanny, and I love the Japanese aesthetic, so I remember trying to achieve that look. But instead of makeup I would use watercolours or acrylics or anything I could get my hands on. Sometimes I would paint pictures on my face, on my eyelids or whatnot. Now if I want to do something like that I go over to the M·A·C Pro Shop in Canada and get these pigments that make your skin really white and pearly. You can use them on your body as well.

I was always fascinated by makeup. My mother didn’t wear any at all and I always thought that was such a great loss because it seems to me that the only point of being a human being is being able to transform the way you look!

So what did you think when M·A·C approached you for this collaboration?

I’ve always loved M·A·C. I’m obsessed with the Lipglass and the Mascaras. I’d often go into the M·A·C shops to play with the brushes and such, but for this, to be able actually to have some kind of input on a project? I felt it was a great opportunity. And of course M·A·C and I have mutual friends. My dear friend Issy did a Lipstick – she was terribly excited about that – and another great friend, David LaChapelle, always had a good time shooting for M·A·C. And I always just thought it was such a cool company. I even remember when it first came on the scene, I thought, ‘great, finally something new for a change.’

Tell us a bit about your creative process as it pertains to this collection.

I was in the Beverly Hills Hotel – and let me tell you there’s always some mad project going on in my bedroom when I’m there, ha! I had parchment papers spread all over the floor and all sorts of different powders and watercolours that I was mixing together and my finished pieces were drying on the balcony. I was painting for so long on that floor. When I’m given a task, I take it really seriously. I start with the raw materials and mix them and all the while I imagine art references and try to consider the Old Masters and try to figure out how they mixed this colour or that colour. Then, when the pieces were done, I packed them all in my suitcase to show M·A·C. Maybe it all sounds strange, but I’m always playing with colours and pencils and paints. I do it all the time! For me a recurring theme in my work is history and the universe – the smallest things and the largest things and I explore that through colour. The process that I’m always in.

Where do you think your instinct for colour comes from?

I think it all has to do with light and the places I grew up. Of course the light is different in Ireland from that in London, and it’s really extraordinary in Cadaqués in the north of Spain. When you have a storm the clouds come out from behind the mountains and make these extraordinary shapes and when the sun hits them from a certain angle it makes a beautiful light. When you look at Dali’s paintings, that’s not him being surreal, that’s him painting from life because that’s what it looks like! I’m very sensitive to light change – I’ll start jumping up and down when the sun begins to set because of the way it goes an orange colour when it comes through my windows because it’s so beautiful. And I hate bad light. When I go in some place and the overhead light is neon it gives me a headache. I’m obsessed with light because without it, you can’t have colour.

Speaking of colour, can we please discuss your hair? Everyone is obsessed!

They are!? Oh gosh. Well what happened was that it’s all an accident. First I dyed the underneath red. At that point it was less baby blonde on the top – it was very white when I was a child and then it went darker as it does. Anyway I dyed it red, then darker red, then plum, then I went to purple, then darkish blue; so at this point it’s not quite black. And the kind of whitest shade of blonde on the top happened by mistake gradually in different salons. Anyway this is what I ended up with! I’m not sure what will be next. I like to experiment. And I do like my hair to be done, it is civilized!

Are there any specific historical or fashion references that directly influenced this collection?

The thing is I don’t like to copy anything and I really try to come up with something completely new. Of course, you have to work with things that are in your frame of reference, but I really aim to create a new colour or at least a new configuration of colours together. As Degas said, “You have to copy and recopy the masters,” but you can only do that for so long and then you have to do your own thing. Otherwise you’re only going backwards and not forward. So I try to take my references from the past and bring them into the present and make them relevant again. I tend to like classic things that you can use many times instead of fads; trends annoy me actually. There’s one thing in loving beautiful things and admiring people’s creations, but a trend? I quite prefer things to move forward, but to exist as a pinnacle of quality.

As for more specific references I would reiterate my love for the Old Masters: Titian, Zurbarán Michelangelo. And I might say that I’m absolutely fascinated by butterflies and outer space. Blimey, I have pictures from the Hubble space telescope and some of those are just extraordinary, and if you look very closely at a butterfly’s wings or even perhaps a jellyfish, you’ll see there are similarities. I mean, I’m not being mad, just have a look! It just absolutely blows my mind.

What are some of your favorite pieces from the collection?

Well for instance, I’m quite proud of the Hyperion Nail Lacquer. It resembles this almost grey, steely light that is pure Whistler from the 1890s when he still had fog in the paintings. The shade is so beautiful and it also reminds me of a celadon-coloured antique Chinese porcelain vase. Porcelain in that colour is rather compelling. There’s something about these sorts of shades that I find quite lovely, and you’ll see that this collection is all about cool tones. I’m not a real primary colour person, and warm colours do not become me. Anyway we can’t all be bouncing along the beach looking sunkissed. I’m never gonna be that girl. I wish, but it ain’t gonna happen! I’m just not great with browns or terracottas and perhaps aside from daffodils, I think yellow is bad luck. I hate canary diamonds with a passion!

You’re known as a patron of couture when it comes to fashion. Would you call this a couture cosmetics collection?

Oh certainly. Couture means handmade, and I mixed the colours by hand and really, really, really put a lot of thought into them! It’s been one very happy experience and I’ve had such a nice time. The only thing I missed is I wanted to be right there in the factory. I would love that. The process is just everything to me. You see, before I was speaking to you I was literally in my bathroom mixing up products and smashing them about! I’ve learned so much and I’m having so much fun with makeup.

Gareth Pugh for MAC Q&A

HOW DID THIS COLLABORATION WITH M·A·C COME ABOUT? 

M·A·C have supported me since my first show and are such a great company to work with, so when they came to me with the idea of doing something collaboratively I was obviously very interested. Initially, the idea was to create makeup products linked to a particular catwalk show, where they would come backstage and take colour swatches from what we used on the catwalk and then create products from that. But I wanted to do something much more specific, something that distilled my aesthetic in a wider sense than just being about one particular season – something that was a complete package.

THE PACKAGING IS AMAZING, GIVING THE COLLECTION A REAL 360 DEGREE GARETH PUGH FEEL...DID YOU INSTIGATE THIS? 

Yes, it was really important to me that the collection we did together was more broad ranging than just being about the colour or texture of the makeup – I understand that that’s obviously one of the most important aspects of course, but I wanted it to encompasses great packaging too so it wasn’t only about the product inside. I just feel that it gives the whole range a much more special feeling – I think it all looks very ‘me’ and very slick – M·A·C did a really great job on it!

SO, DID YOU HAvE ANY SET IDEAS AT THE OUTSET OF WHAT YOU WANTED THE COLLECTION TO INCLUDE?

Well, I certainly knew what I didn’t want the collection to be! I didn’t want it to be all about black. I think if people had heard about me doing a makeup collection that’s exactly what would have sprung to mind, but make-up requires a very different approach to clothing! I really wanted it to be unexpected, and beautiful.

HOW DID YOU EMBARK ON THE CREATIVE PROCESS THEN?

To start the ball rolling, M·A·C asked me to send them some references for the various products... basically, anything that I liked the finish, colour or texture of. I had a very clear idea of what I wanted the collection to be and was able to put together a very concise reference board made up of a lot of things that I love and have kept in my studio for years for one reason or another – I never throw anything away! There was fabric in there from previous collections, a feather from some head pieces I made for my Spring/Summer 2010 show, a hematite coloured rock that I’d brought at this amazing shop called Evolution in New York, a butterfly wing that someone had given me in Paris...an amalgamation of things that I’d kept because I like them, and this was the perfect opportunity for me to use them.

ARE ANY OF THE PRODUCTS DIRECTLY INSPIRED BY PIECES ON THIS MOODBOARD? 

We have a nail polish and a lipglass that reference the butterfly wing, but we had to vamp it up a bit: a literal interpretation of the butterfly wing would have been a bit too pretty looking for me! The wing went from a powdery pink to an electric blue so we twisted this into a colour that goes from a vivid emerald green to a deep purple, so there’s something more witch-y and mysterious, rather than ethereal, about it.

HOW DOES THIS COLLECTION WITH M·A·C REFLECT HOW YOU DESIGN FOR THE GARETH PUGH WOMAN?

With everything that I do it’s about a contradiction – a play with light and dark – it’s about opposites. Likewise, in this makeup range there are two very distinct groups – there’s one group based around purples and dark blues which is very powerful and strong and then there’s the group that’s more about a silvery steel iridescence which feels a lot more fragile.

YOU WORK WITH INCREDIBLE MATERIALS AND CONTRASTS OF TEXTURES IN YOUR CLOTHES. DID YOU WANT THIS COLLECTION TO BE VERY TEXTURALLY RICH, TOO?

Yes, I wanted the finish of the products to be very texturally versatile and multi-faceted. For example, there’s an amazing two tone Lipglass and Nail Lacquer that can both be worn alone or used as a top coat, over one of the darker lipsticks or nail varnishes – on their own they are very subtle and beautiful, but by overlaying them over a dark base, the two tone aspect of the product is emphasised and they really ‘flash’ – from an emerald green to a deep purple. I didn’t want the products to be one dimensional or too specific. I think it’s nice that the textures have a level of diversity, so that you can bring uniqueness to the look you achieve for yourself.

THE LASHES REALLY STAND OUT: TELL ME ABOUT HOW YOU DESIGNED THESE? 

The idea with the lash was my way of getting something very

graphic into the actual product. I just took a load of the biggest lashes that M·A·C makes and started chopping them up into different shapes. The thing with lashes is that they tend to be a very ‘lash’ shape whereas I wanted to do something that looked more non-conventional and angular: not something you tend to see a lot with lashes. From shooting our video and seeing how they work on the film, I really feel that these triangular lashes make the eyes look very beautiful. Worn top and bottom, they give this very angular, horse blinker, effect. Fake lashes can be very referential of old Hollywood and film noir glamour whereas I wanted to do something that was much more fresh and modern looking.

FILM IS INTEGRAL TO THE WAY YOU PRESENT YOUR COLLECTIONS. HOW DOES IT WORK IN THIS COLLECTION? 

In the fashion films I do with director Ruth Hogben we’ve managed to create an aesthetic that’s very strong, visual and immediate which has a great impact....more impact, I think, than when my clothes are on the catwalk. So it was very obvious to me that I wanted to do a film with M·A·C for this project. To see things in movement, rather than just a still image, reads a lot more than in one-dimensions. And it’s a very interesting and new way of approaching traditional advertising campaigns, to start with a moving image and then take still images from that. I think that working like this really helps visually unify the whole concept of the makeup line. We’ll have a film that’s about two and a half minutes long and then the still images...but because they all come from the same place they will have a very powerfully unified vision.

HOW DID YOU WORK ALONGSIDE PRODUCT DEVELOPMENT?

There was a lot of backwards and forwards between us – I was being very specific! I don’t use a great deal of colour in my work but I knew it was incredibly important with this to get it right – it’s sort of the most important aspect of the collaboration really, and it had to work together as a collection. The end result was worth all the tweaking: everything is going in the same direction and singing from the same song sheet – it’s very satisfying to see it all come together.

To see photos and information about the Gareth Pugh for MAC collection, visit Beauty Squared's preview post.

MAC MAC Me Over: Q&A

Q&A WITH JAMES GAGER

Senior Vice President and Creative Director, M·A·C Cosmetics

How did the idea to do a sweeping search for new M·A·C faces emerge?

Well, part of the idea was the simple fact that everyone loves a good makeover. Just look at all the tv shows and magazines that cover the topic! And of course, when it comes to the idea of transformation, who better to do it than M·A·C? However instead of just making up a pretty face and concentrating on one facet of a makeover, I really wanted whoever won our contest to be involved in a total transformative process, which meant the makeup and the hair, the clothes, the attitude, the experience of being in New York and working with an A-list team of Michael Thompson (photographer), Paul Cavaco (stylist), Brigitte Reiss-Andersen (makeup) and Serge Normant (hair), and how this team and photographer would interpret their look. Who wouldn’t want to win that experience? It’s all about living out a fantasy.

You received thousands of entries. What was the process of combing through them like and how did you make your selections. What was the criteria?

I asked a very trusted member of my team, Executive Director Rory Gevis, who worked as Style Director at W as well as other fashion magazines, to help by doing some pre-selecting for me. After she narrowed the entries down, I evaluated whom we had and found myself more interested in the reasons why they wanted a M·A·C Me Over!, not only their looks. It had to be more personal than that, so we focused on the “I want to be a part of this because...”. It worked out that the M·A·C mantra – All Ages, All Races, All Sexes – was definitely represented in the chosen winners.

M·A·C is famous for working with celebrity spokespeople and collaborating with artistic luminaries. How was working with average American M·A·C lovers different for a change?

People living and working in New York and especially this industry can get a bit jaded, but these people were not taking a second of this experience for granted. Frankly, that’s very refreshing. I think when they all arrived at the photo shoot and walked in the door, they didn’t have a clue of what was going to happen to them! When you arrive and you’re the star being treated like one by all these amazing people, you really have to trust and hand yourself over. Each of them really went for it. It was just great to be among people that were so excited. I think that level of appreciation happens in our stores a lot, when a makeup artist creates a look on a customer and they not only look good, they feel wonderful. It gives them a confidence boost. So this was a taste of that exchange, which is thrilling!

At the shoot, how did you and the creative team decide who would represent what look?

The best way to describe it would be to say it was like going on a blind date! You didn’t know what you were going to encounter or what to expect. Obviously, we had photos of them beforehand. Paul had some ideas of how he was going to style, and they had some of the makeup looks assigned to them, but on the day of the actual shoot we chatted with them and tried to understand their personas and where they could go, transformation-wise.

What was the goal of the makeovers? How did people feel once they were transformed?

The general feeling was,“I never thought that I could look like this.” They were exposed to a different way of seeing themselves and their full potential. Some people were really amazing on camera too. Xee, for example, was a natural. I was like, “Have you done this before?"

   

A number of the people who were selected cited being on the M·A·C email list as the way they heard about the contest. How do online initiatives now play a role in how you connect with fans?

We have a huge fan base that we respect and cherish, so we are always thinking about the ways we can keep engaging them in fresh and interesting new ways, and of course more than ever that pertains to the digital space. We think of our fans first and foremost. I think especially for this collection, this was a way to say, “We admire you so much that we want you to be the new face of M·A·C.” That’s kind of the ultimate compliment, right?

Interview with Mickey Contractor

Mickey, how long have you been working with M·A·C?

It's been 32 years since I started working as a makeup artist and this is my 6th year with M·A·C. I've collaborated with the brand since they launched in India. M·A·C wanted to work alongside a makeup artist with credibility, experience, the ability to inspire who was also an authority of goodwill in the industry. So when they came to me and said, "We'd like you to collaborate with us, we're opening a store in Bombay": I thought, "This is a Godsend for me". Working with M·A·C was an opportunity to really convey my vision. They have such incredible authority and influence in the industry and becoming a part of that was incredibly exciting to me.

Had you already been using M·A·C products?

Yes, I'd been using M·A·C for years. I first discovered M·A·C when I was in Canada about 15 years ago where I bought Twig, Malt and Marrakech lipsticks. Those kinds of shades just weren't available in India. In fact, so little makeup was available in India back then! I've been a huge fan ever since.

What’s your beauty philosophy?

For me, beauty is about a natural-looking woman who wears makeup, but wears it so cleverly that it doesn't actually show. She's also somebody who carries herself with a lot of confidence, not just someone who's pretty, but who also has a lot of character. For me...that defines beauty.

Who have been your creative influences throughout your makeup artistry career?

I began my makeup career thanks to Indian Bollywood star and Sixities Item girl, Helen. I also used to look at Linda Evangelista's pictures in the Seventies and Eighties and be utterly inspired by her beauty. Linda, Christy Turlington, Paulina Poritzcova- they were the models who really inspired us because all we really got to see were advertising campaigns in the very few foreign magazines that were available to us.

You’re known as the Master of Modern Bollywood. How has Bollywood changed since you started working in it?

In terms of makeup, by the Nineties I had managed to influence Bollywood a lot. My whole idea was to try and minimize the old Bollywood way of makeup as much as possible – we used to be into panstick and pancake makeup, which looked really thick. I wanted it to look more modern, more real, more today, closer to what Hollywood does...because it makes it more believable. That was my contribution to this culture.

I was doing a lot of movies at this time, so when people saw the makeup they realized what I was talking about and they all started to copy it. A lot of actresses would send their own personal makeup artists to see what I was doing and make them watch me. Most of the A-grade actresses were taking a lot of tips from me, asking what colour foundation they should be using, what kind of look they should go with, etc.

You’ve said that the ‘no makeup’ look requires more effort than a full-on makeup look... how come?

The "no makeup" look in India is about using everything you need to use but making it look like nothing! That‟s the reason it's so much more difficult, because your blending has to be perfect, the contouring need to be perfect, you've got to be able make an exact match to the colour of the skin tone...it's very, very difficult. But the products and tools in this collection all work together to make achieving this look so much easier.

What have been your biggest creative challenges?

It's taken me almost 20 years to take the Bollywood makeup "down" to what it is today. I've been saying "cut down on the makeup, cut down on the makeup" for many many years. Yet there are not a lot of women who are willing to change their makeup very quickly because it's something they've been doing the same way for years. Since M·A·C brought me into the picture it was much easier, though, because I had many more products to play with, and of course M·A·C is an authority in the industry. As a Director of Artistry for M·A·C, people took me even more seriously.

You’ve already worked with M·A·C on product development in the past haven’t you?

Yes, three years ago I created a few foundation shades for the Middle East and India, because so many people wanted to use M·A·C foundations yet felt that they couldn't find the exact shade and tone they needed. They didn't have enough yellow undertones in them, which caused them to appear grey on Indian skins. The foundations did so well that M·A·C realized that it was the right time to do a whole collection and expand on this.

What was your inspiration for this collection?

My USP is skin. I am one of those makeup artists who focuses a lot more on the complexion and contouring rather than just colour, so I wanted to split the collection into two parts: "Face" for creating the perfect skin and "Colour" to add definition. The inspiration for this collection really came from what I felt Indian women needed. Pigmentation and discolouration problems around the mouth and under the eyes is something that most people in India have a problem with, so creating the concealers was really important to me. They really work to address these issues on any olive-based complexions and outside of India they'll also work beautifully on Hispanic, Mediterranean and Middle-Eastern skins, which can also have similar issues with pigmentation. Because creating beautiful skin is always my priority as a makeup artist, I wanted to focus on that, as well as developing the best colours to accentuate it with.

Tell me a bit about the Face range...

I do a lot of in-store appearances, whether that means promoting Viva Glam on World Aids Day or doing one-on-one appointments with the customers. When I meet these women and identify their needs, what it comes down to is that they all want the perfect shade of concealer. So, I created four new shades of Select Moisturecover Concealer that really are perfect for Indian women‟s skin tones and anyone with an olive-based complexion. Select Moisturecover is by far my favorite concealer formula in the range. It's texture works on all skins, even on more mature skins and really doesn't cake up under the eyes.

The double-ended colour corrective concealer looks amazing. How did you come up with this idea?

This product is ideal for taking a concealer or foundation you already have to almost the exact shade for your skin. If it's too dark you mix some of the yellow in to make it lighter. For whiter skins the yellow also works beautifully to counteract the slight greyness or blueness that Western skin tones have. If it‟s too light you just add a couple of dots of the coral to it to make it darker, and the orangey tones neutralize the dark brown or red undertones that Indian skin often has. You can dab them on as colour correctors and then wear your usual concealer over it.

How about the Colour range? How does this reflect your signature style?

I love using browns and earthy tones on the eyes, so I have designed an eyeshadow quad of my perfect neutral colours. I took existing shades of Folie brown and Carbon black, to which I've added two new shades, Viva (which means "marriage" – it was great to give the products Indian names), a new golden-y coppery brown, and Jaan (which means "my life"). The name of the quad – Athma – means "soul" because the colours in it really reflect the look that I am known for. I'd say it pretty much defines the makeup that I do in terms of colour.

The lip products are gorgeous and so wearable...

I always prefer to give attention to one feature, and my signature look is really a smoky eye with a mouth that's really simple and neutral. You can use the lipstick with the gloss, or just one or the other to play around with getting the texture you want, but still have beautiful natural colour. Of the lipsticks, Yash (which means "fame") is an almost nude-beige-brown and Mehr (which means "grace", also my wife's name) is a pink-nude. Any brown tones read as nude on Indian skin, which on white skin will actually read as a stronger colour, but these shades look beautiful on both skin tones.

The four single eye shadows are gorgeously strong shades. In particular, the bright pink is really striking. What led you to this vibrant colour?

Yes, they are. For example, in India a bright pink is known as Rani pink – Maharani's in Rajasthan used to use a lot of strong bright pinks in their outfits, so I created the strong fuchsia eye shadow, Rani, to reflect this. It looks a lot hotter in the palette than it does on your skin – you can wear it as a light wash if you're delicate when applying it.

The two Fluidlines are very vibrant and unusual too? What inspired these?

The Fluidlines came about because on the last few films I've worked on I've been using a lot more colour. I reached a point where I thought that just gold and black would be boring so let's use a little bit of colour! To create shades like this bright turquoise and green I previously had to use an eye pencil and then put a powder shadow over it. Since everyone was coming to me asking how to recreate them, I thought "why not make it so they can have it in one pot and just paint it on?"

So, from neutrals in the quad to the brighter single colours, there’s something for everyone, then?

Yes, between the quad and the singles you get the full spectrum of choice – a little bit of colour and some neutrals, some matte and some frost. Of course there are so many wonderful colours in the existing line up, but I created what I felt were some of the M·A·C colours that were missing in my kit.

What was important to you in terms of texture?

I like shadows with a little more pigment in them so that they have a very smooth application with great longevity and strength of colour. The single eye shadows have more of a pearl undertone to them – Indian women do love to wear shine and frost. I really love the formulas that we've got to now. There was a lot of back and forth with the labs to get them exactly right, but they‟re really amazing now!

How do you cope with the challenge of working in the excessive heat in India? It must be hard on you...and the makeup!

It's a huge challenge to work in the heat. For years the majority of film studios in India weren't air-conditioned, and even some today. If you were working outdoors, it was sometimes a nightmare as you could be working in conditions that would dry the skin and also melt the makeup. That's why I'm so happy with the textures we created in this collection as they really do stand up to the heat with great staying-power and don‟t look heavy on the skin.

Is having the opportunity to create your own line of products your dream?

Of course I think it should be every makeup artists dream to create their own line of products.

Will these products work on everyone, not only Indian skin tones?

Absolutely. These colours will work on almost everyone, not just Indian women, but particularly Hispanic, darker Mediterranean and Middle Eastern skin tones, too. Of course you can play with the shades and use them differently whether you're a makeup artist or a customer, but everyone will love them I'm sure!

What are your star products in the collection?

The Select Moisturecover double-ended corrector is my star product. In terms of the colour, the Athma eye shadow quad is something I'll use all the time, and I also really love the Lipglasses. I've finished almost all the final product testers that I have – especially the lipsticks and Lipglasses, which I'm using on a daily basis. I couldn't be happier with the products that M·A·C has created for me. They're all perfect.


To view the MAC & Mickey Contractor collection, click here.

All About Mickey Contractor

Mickey contractor

Director of Makeup Artistry – India

He’s a makeup artist who turns heads when he walks down a Bombay street, a talent who literally changed the face of Bollywood and he’s M·A·C Director of Artistry, India. He’s Mickey Contractor whose career started in an extraordinary way – by meeting a muse.

As a young lad what came first were the movies. Watching films from age 10, he became transfixed by an actress whose onscreen persona was both cabaret dancer and vamp. At age 10 he may not have known the culture behind the looks, but he knew what fascination felt like. With eyes that flashed, hair that piled high above her head, feathers that rose cockade-like above her head, she was “awe-inspiring.” Her name was Helen Richardson Khan, Bollywood’s legendary “Helen.”

Unlike traditional Bollywood queens, she was trendy. Of exotic mixed heritage, she found her inspiration in English glossies, and took to mimicking the trends of the ’60s and ’70s. The sexy eye liner flicks, the loose bouffant, the sense of sex and liberation. Young Mickey was drawn in.

Something about the hairdo and the feather must have stuck, for upon leaving school Mickey went to work in a hairdressing salon. Amid the perms and updos of Bombay’s stylish, there was one customer in particular who he was thrilled to work on, Helen. One day, shampooing her hair, she asked him what he wanted to do with his life and suggested that he learn makeup. Giving him some insider advice, she told him to go and assist a Bollywood makeup artist.

Mickey was hardly going to ignore his beloved muse. With no formal schools in makeup art in Bombay, apprenticing was the way to go. Unlike Western culture, makeup artistry in India was at that time a family profession and techniques were passed down father to son like family secrets. Because of this laissez-faire, no trends were created. Mickey, on the other hand, had no family connections and was an outsider. Finding a makeup artist willing to take him on, he was taught the basics in foundation. Assisting for eight months, he began to create his own tricks; after all, he had no family secrets to be the keeper of, he was

free to ad lib – and he did. His techniques became savvy and he started to develop a reputation. Stepping out, he initially worked the provincial film studios, working on C-list movies – learning but financially barely scraping by. His kit was a mishmash of local brands of makeup and a few brushes he had bought from an art store.

He was also inadvertently networking. The faces he made up in the provinces were also cast in Bollywood. Eventually he was asked to be the makeup artist for a trio of actresses. This was getting closer to his mission, but he was learning something about Bollywood, too – makeup artists weren’t esteemed. The combination of low pay and shabby treatment made Mickey react. A rebel with a cause, he quit and went to work in commercial advertising. There he earned more, and was allowed a different kind of creativity, one that was more receptive to trends. Finally, he had the freedom to create and develop his look. Dipping into six-month-old fashion magazines, he would look, see and reinterpret in his own style.

As his reputation grew, Bollywood’s interest in him returned. Wooed by director Rahul Rawail, Mickey dug his heels in and made unheard of contractual demands. Despite himself, he got the job. But there was no shrinking back to the status quo. When the director screamed, he screamed back. He began to get a reputation. But if his screaming was loud, his work spoke louder. Juggling Bollywood and commercial work, he attained an unheard of celebrity status in Bollywood and around Bombay: he became a makeup superstar.

Movies meant location work and one year he found himself in Canada shooting a Bollywood film in the Rockies. On the way home he popped into a makeup store in a shopping mall in Vancouver – M·A·C! Struck by the colours, he picked up something he never thought he could find; perfect nude lipsticks – M·A·C favourites Malt, Twig, and to this spontaneously added a deep burgundy Diva. Back home he experimented and got hooked. This was just the start.

As his reputation grew and his fees increased, he built his M·A·C collection. With no source in India, he would pick it up here and there. In London he would buy a Cork Lip Pencil...Then next port of call he would dip into the browns, rusts, and coppers he would find in the eye shadow collection. He built his collection on one inspiration: the colour spectrum of the Indian complexion.

As his status rose, he began to influence a whole new generation of Bollywood makeup artists – and his fame outside the country was growing, too. Scouted by M·A·C for their first store in Bombay, Mickey had no hesitation. He still does Bollywood and commercial work, but his work with M·A·C is a passion. Between M·A·C Master Classes round the world, in-store appearances, new store openings (after Bombay, there was Bangalore), Bollywood and its Award Ceremonies, and Delhi Fashion Week, he has little time for much else. His inspiration comes from the West...from the backstages of London, Paris, Milan, New York, and from the glossies, and where he needs to, he tempers them for the Indian taste and skin. As he says, “In India – unlike Paris – you don’t do looks that are so nude you look like you just got out of bed.” He may not realize it, but when he takes a trend, and modifies it, ever so slightly for the Indian market, he’s echoing his muse, Helen who in the ’70s looked at a photo in Vogue and copied it in her own way...And as for those art brushes, with which he learned the art of the liner, yes, he still has them – but only as keepsakes.


To view the MAC & Mickey Contractor collection, click here.

Black Swan - An Interview With Makeup Artists Margie Durand and Judy Chin

Q&A with Black Swan Makeup Department Head Margie Durand and Makeup Designer Judy Chin

Q: How does a makeup artist prepare to work on a film? Do you receive guidance from the director or collaborate with the costume designer/art director/key hair stylist on the makeup look?

Margie: When I begin working on a film I speak to the director and all of the creative team if possible.  The directors inspiration and vision really drives the process and I try to deliver that vision in makeup.

Judy: As I read the script, I try to envision the characters, taking into account their background (age, personal history, affluence, profession). As I see the plot develop in the story, I make note of how these events might affect their appearance.  When I’m designing the looks for a film, it’s very important to consider the director’s visual style and tastes. Occasionally, I get to collaborate with the costume or production designers. I always try to find out how the actors will be dressed, as that can have a significant influence on the makeup look.  While our designs are often created independently at first, I find that the hair stylist and I work very closely to be sure that our looks fit together and bring the characters to life.

Q: How long does it typically take for you to prepare to start working on a movie like Black Swan?

Judy: I spend a lot of time drawing and doing practical makeup tests. Depending on actor availability and camera tests, it could take three to four weeks of preparation.

Q: How does a makeup design contribute to building a movie character?

Judy: What I’ve always loved about makeup design is its contribution to the actor’s performance. Makeup helps to create the character visually. I feel that I’ve done my job well when an actor can walk onto the set feeling like the embodiment of the character that he or he is portraying.

Q: Can you give a step by step explanation as to how the Black Swan look was created as well as the products that were used?

Margie: We applied a pale ivory foundation with a white cream highlight on the forehead and cheekbones. To create the swan eyes, we used M·A·C Chromaline in Black Black.  Using M·A·C Pigment in Silver combined with Mixing Medium, we applied feathery brushstrokes over the Black Swan’s eyes. The lips were lined with M·A·C Lip Pencil in Vino and topped with M·A·C lipstick in Dubonnet. We then lined the under eye with a thin line using M·A·C Chromaline in Red.

MAC Chromaline in Black Black
Chromalines are waterproof gel/cream liners
 that are similar to Fluidlines
but last longer and are more paint-like.
Available at MAC Pro only. 

MAC Lipstick in Dubonnet

MAC Pigment in Silver
Used in Black Swan with Mixing Medium
 to make it liquid and long-lasting.

Q: Does the makeup have any relation to the makeup in the traditional version of the Swan Lake ballet?

Judy: Not really. The ensemble dancers wear what might be considered a traditional theatrical eye makeup, but our rendition is more dramatic.  It’s practically an opera makeup.  Besides that, the only other relation might be that we did portray the Black Swan as a sinister dark foil to the more angelic and innocent Swan Queen.

Q: The ballerinas’ performance makeup in the movie is especially dramatic and visually arresting.  What inspired the dark romantic makeup look?

Judy: The look was inspired by the story, and by the director, Darren Aronofsky I felt that he was looking for something dramatic and visually striking, so all of the intensity was focused in the eyes. Margie Durand realized that there were elements of our beautiful set design that should play a role in our makeup. Thus, the delicate silver branches that played across the swan’s faces came to be.  The ensemble swans and the Swan Queen are delicate and romantic with a soft pink lip color, whereas the Black Swan is dark, sharp, and, angular.

Q: A ballerina has an incredibly active job, and in Black Swan, the characters wear both body and face makeup. What products did you use in the film that you were certain would hold up to the lights, movement and perspiration?

Judy: We used pancake makeup with a spray sealant to ensure that it wouldn’t rub off on the costumes. We also used M·A·C Paint Pots, M·A·C Powerpoint Eye Pencils, and M·A·C Pigments.  In addition, we applied some alcohol based pigments that are virtually water proof and rub proof.

Q: What challenges did you face when designing and applying the makeup?

Margie: It was a challenge to makeup the Black Swan as the White Swan and then switch back to Black Swan during the long filming days.  Both makeups had to be retouched because of the strenuous dancing for the
close-up shots.

Judy: It would have been a huge problem if any of the makeup rubbed off onto the costumes, so we had to do many tests before we came up with the right combination of products – especially for the hands. The only other challenge was conveying to our team the application techniques, as it really was an operatic style of makeup. The shaping of the eyes and painting the whole eye in cake makeup is unusual for modern makeup artists. Most people are a bit intimidated by pancake makeup and they dismiss it as “old fashioned,” but it can be really beautiful if done properly. In the end, the whole team worked really hard and did a stunning job.

Q: Did you use any products in a non-traditional way?

Judy: We mixed the M·A·C Pigment in Silver with a sealant to create a waterproof liquid. We then used this metallic liquid to paint our delicate silver branches across the little swan faces.

Q: Black Swan makeup tutorials have popped up all over the Internet.  Why do you think makeup fans are fascinated with this look, even before the film’s release?

Judy: What’s not to be fascinated with? The look is intense, alluring, and sexy with a bit of danger mixed in. Frankly, I’m flattered and pleased that there has been this much interest in the Black Swan makeup.

Natalie Portman in the Black Swan

Q: How can the everyday woman translate the dramatic Black Swan makeup into an evening look?

Judy: There are a lot of aspects to this makeup that are standard elements for a classic beauty makeup. The highlights and contours along the cheekbones, nose, jaw line, and the pout of the mouth can all be adapted to a contemporary makeup. I also think one could incorporate the dramatic eyeliner – the angles and the intensity - into a very seductive, catlike smoky eye.  

Margie: Think 1920’s vamp makeup: create the smoky Black Swan eyes with slender, silver eye liner applied under black wingtip liner and add thin wisps of silver liner over the eyelid, too. Rim the waterline with black liner and top it off with full, feathery false eyelashes. Apply a very matte foundation with contoured cheekbones and a hint of shimmery blush on apple of cheeks. Lips can be matte or glossy in dark eggplant, wine and even black colours!

Q: What other films have you worked on?

Margie: Sex and The City: The Movie, Cadillac Records, Across The Universe, Requiem for A Dream, I Shot Andy Warhol

Judy: The Unbelievable Truth, Ghost Dog, Requiem for a Dream, Frida, House of Sand and Fog, Broken Flowers, The Fountain, Blood Diamond, Across the Universe, Synecdoche New York, All Good Things, The Wrestler, Sex and The City: The Movie, Sex and The City 2, Dream House and The Tempest.

Q: Have you ever worked on a fashion show?  If so, what are the differences between the creation of a movie makeup and the look for a fashion show? Is the creative process similar or different?

Margie: The creation process is similar; the differences are huge. In film, the makeup needs to be recreated more than once, whereas in fashion on a runway, it is created for one day or one show. In film, there is continuity of passage of time from minutes to days to years, and the character’s look has to adjust for this, sometimes all on the same shooting day. In film, the makeup needs to enhance the actors’ performances and become part of their characters, contributing to beauty, injury, aging, etc.

Q: How did you get into the film industry and how many years have you been working with makeup on film sets?

Margie: I began working on music videos in the late 1980’s and I have been a makeup artist for 22 years.

Judy: I’ve been working in the film industry for 22 years, as well. I got started by working on any project I could get my hands on that required a makeup artist. I worked on low budget films, no budget films and music videos. Some of those projects were extremely difficult because they were so small that they often never even considered what a difference a good makeup department could have made. That said, I always managed to enjoy my work, be innovative, and enjoy the creative process with the actors. I was lucky to meet some wonderful crews early on, and they inspired me to persevere. It totally paid off.

Q: What is the one M·A·C product that you cannot go on set without? Why?

Margie: I use so many M·A·C products on every job, but the Blot Powders are a must for whatever seems to be going on with my makeup at any given moment!

Judy: That’s a really difficult question, but I guess I would have to say a Powerpoint Eye Pencil. I think I could make up anyone with just one Powerpoint Eye Pencil. Or at lease enhance their features.

Natalie Portman in the Black Swan

Note: This Q&A was sent to BeautySquared by MAC for publication.

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