Last year due to the pandemic, for the first time in it’s more than two decade history, The World Bodypainting Festival live program had to be cancelled. But not one for sitting on the sidelines waiting to be able to join together again in person, the program’s founder Alex Barendregt decided to go online with the event. The virtual event was a great success and while the 2021 event was originally planned to go live again in Klagenfurt, Austria, the ongoing pandemic issues made this impossible so Alex once again is going online with the program. We sat down (virtually) with Alex to learn more about this months event.
This will mark the second year that the WBF has been held virtually. How was last year’s event received by the WBF community?
The community fully understood that we had to cancel the live event. It took us some weeks to announce that we are going to do a virtual event and the response was incredible. They loved it very much to be able to create some art at least from their homes. The common feeling during the pandemic was depressing enough, it was a
bright light on the dark horizon that we pulled off such a virtual contest. Within the week of the program, the world was busy creating bodypainting and makeup art. Artists from 55 nations took part, which is just incredible. After asking some people if they want to share their studio, or makeup school with other artists, the WBF Creative hotspots were born. 20 of these WBF hotspots around the world invited other artists and they made a kind of micro festival in their city.
What were some of the highlights from last year?
We didn’t realize it while organizing the event, but this WBF Covid Edition 2020 was the first World Championship (not only in the makeup industry) that went from a Live to a Hybrid version. The full week was a highlight, with such a diverse program. The final TV Show we broadcasted was a unique new experience, for me personally as a host, and for the community as a format of presenting.
What will be different about this year’s program?
We will have more competition categories online and one live, the World Camouflage Award. There are many more Continue reading →
What’s your sign?
I was born under the sign of Sagittarius.
When you were young, what did you want to be when you grew up?
When I was younger, I did want to be a makeup artist. I am not from the background where this was seen as a good job in my family. There was no career advice available to me at the time, but I loved reading magazines and looking at the models. When
I saw a makeup artist at work on a photo shoot one day as I was making my way home from secondary school, the image of seeing the makeup artist with a large palette applying lipstick to the model was very exciting, and brought to life the pictures I
had seen in my mother’s fashion magazines.
How did that transpose into a working in makeup?
I started out working in the theatre, and later transferred to television and films. Following my training, I was a trainee in the theatre. My first project was Joseph and the Amazing Technicolor Dreamcoat, and the star was Jason Donovan. My duties were to Continue reading →
What was your design process like on Bridgerton? I always begin a project by reading the script a few times over, trying to get to know the characters and how I can convey their personalities through their hair and makeup. Once I’ve read the script, then alongside my research of books and paintings of the time and my knowledge of history, I start to formulate my ideas of how I can reflect their personalities through the hair and makeup. I then put these ideas to the actors in their initial fittings. I was lucky with Bridgerton that all the actors loved my ideas. So, once we received approval from the producers, we were good to go.
Where did you draw inspiration from in terms of makeup and hair? Most of my inspiration comes from the usual books and paintings of the period, but I also have a good knowledge of history, and also spent my formative years watching old black and white movies and musicals of the golden era of Hollywood. People say that I have the memory of an Elephant; it’s all kept in those little grey cells in my brain ready for a new production. For example, Daphne’s look was based on Audrey Hepburn from the film War and Peace. On her first meeting with me, her eyebrows, with her hair taken up tightly reminded me of Audrey Hepburn in this film. I then adapted it to what I felt was right for Daphne. War and Peace was made in the 1950s but again the story was set in the Regency period so her makeup had to have that no makeup look, but still leaving her soft, dewy and stunning.
You come from a theater background and this show has a very theatrical feel to it. Did your history working in stage help or hinder your process with this project? I began my career in 1988, after graduating from The London College of Fashion. I landed a job on Continue reading →
How did you get your start in makeup? As a teenager in England me and my friends got into doing each other’s makeup and hair, and making outfits from stuff we bought at jumble sales to wear to see bands or go to clubs. I started looking at magazines like i-D and The Face and realized it could be a fun thing to try and do for REAL (Ha!). Maybe it’s because of this that I prefer the homemade, DIY feeling of shoots that feel spontaneous and improvised. Every mood board and pre-meeting is a little death to the creativity, I think.
If you weren’t in makeup, what do you think you’d be doing? I have no idea what I’d be doing. I hope something creative and fun. I did all kinds of regular jobs before doing this for a living, and none were fun exactly, but I met some cool people.
You’ve had a long, high-profile and diverse career in makeup What do you think gives you and your work that longevity? I think it’s because, while I have certain things that I’m known for, I’m pretty adaptable and not too precious about it. I have range and I can turn my hand to most things. I like collaborating with different people and trying new stuff, and it doesn’t hurt that I can work fast and get the job done!
As one of the most innovative artists in makeup, how do you find new and unique ways to express yourself in your work? Thank you! Every job is different, even if some of the elements or other people involved are the same. Each job has its own specific structure and requirements, you need to Continue reading →
When you were young, what did you want to be when you grew up?
Archeologist, hairdresser, magician; it changed daily.
How did that transpose into a working with makeup?
As a fine artist, I began exhibiting in the ‘90s. I explored body and environment using material aesthetics of makeup and prosthetics in my practice, much like Mathew Barney or Cindy Sherman. I was asked by a fashion designer to collaborate on Continue reading →
Well, here we are, more than a year into a pandemic
that has changed us forever in so many ways.
Through all of the challenges and all of the loss of the
past year, I know that there were many things that came
to light for me, my business, and for our industry, that
shifted and evolved us for the better.
Personally, my energy has been wide open to the lessons
to be learned during this time. I know they have left an
impression on me, and I hope they left one on all of us.
I am grateful beyond words for the support of our
community during this time — and grateful for the privilege
of being able support this community and our industry
I am grateful for the moments of hope we have given
each other and I am in awe of the way we came together
to support one another when times were their most
I am grateful, and ready, for what comes next. I am
anxious to get to work on moving forward in whatever
new ways of working and engaging that will mean. I am
here for the commitment to do what needs to be done
and to help to build a stonger industry in the process.
As we begin to move forward into whatever will become
our next normal — know that I am here, The Powder Group
and On Makeup Magazine are here, and our TPG
community of artists and brands are here — planted
steadfastly by each others side.
We are here, for the long term, with support and
inspiration and dreams of an amazing today and of an
incredible tomorrow. Welcome back.
Editor, On Makeup Magazine
ARCHIVE: SEEN – SKINDINAVIA CELEBRATES PRO LA 2020
Larry Traevon, Christina Patch, Deb Milley, and Jordan Liberty
Vivian Baker, Donald Mowat
Barrie Gower, Lizzie Yianni Georgiou, Tapio Salmi and Deb Milley
John Stapleton and Ve Neill
Dianne Holme, Rita Ciccozzi, Krista Seller, Julie McHaffie
Michael DeVellis, Barrie Gower and Allen Goldman
Carleigh Herbert, Jason Collins, Judyann Conners
Kirsten Coleman and Doniella Davy
David DeLeon, Melissa Sandora_Tyson Fontaine, Cool Benson
Angelique Valez and Michael Brown
Amy L. Forsythe and Tom Denier Jr
Abby Clawson and Nix herrera
Marc Pilcher, Anne Nosh Oldham and Sam Smart
Allen Goldman and Mike Fontaine
Cindy Escalante, Melanie Mills, Debra Denson
Carla White, Frida Aradottir and Mike Fontaine
Alastair Muir, Burton LeBlanc
Sunday Englis, Tania Ribalow and Michael DeVellis
Gabrielle Haens, Rachel Sterns and Julia Becker
Eugenia Weston and Allen Goldman
Danielle Minnella, Amy L Forsythe and Heidi Pakdel
Eryn Krueger and Jeong-Hwa Fonkalsrud
Jason Milani, Stephen M Kelley, Amy Tagliamonte, Mike Fontaine, Brandon Leffew, Dave Presto
Tim Welsh, Deb Milley, Allen Goldman and Art Swanburg
Lawrence Mercado, Louie Zakarian and Carleigh Herbert
Amy Lederman and Elena Arroy
John Blake and Alastair Muir
Angela Moos and Julie Socash
Iantha Goldberg, Sean Sansom, Eryn Kruger Mekash and Mike Mekash
Faye Crasto and Burton LeBlanc
Helen Robertson and Robin Slater
Keesh Winkler-Smith, Kym Nicole Oubre, April Chaney and Erin LaBre
Sue Cabral and Deb Milley
Jennifer Garcia and Helen Robertson
John Blake and Mike Marino
Josef Rarach, KC Mussman and Or Mussman
Leonard Engelm, John Stapleton and Allen Goldmanan
Lee Joyner and Marielou Mandl
Sari Lietzman, Silvia Leczel, Chanti LaGrana Gina Ghiglieri_
Lisa and Ned Neidhart
KC Mussman, Anna Stachow and Chloe Sens
Nikki Lederman and Mike Marino
Melanie Mills and Tym Shutchai Buacharern
Liz Harlan, India Haley Barton and Pedro Zalba
Sean Sansom and Michael Astolos
Tonia Green and Monique Hyman
Michelle Bear, Keesh Winkler-Smith and Kym Nicolr Oubre
Pedro Zalba, Albert Sanchez and Louie Zakarian
Rocky Faulkner and Nicola Bendrey
Monica Halligan, Eugenia Weston, Kristina Goldberg and Jeff Fetzer
Nana Fischer, KC Mussman, Frida Aradottir, Daniella Milton, Christina Smith
Richard Redlefsen, April Chaney and Daniela Pop
Victor Castillo and Abby Clawson_
Stephen M Kelley and Anna Stachow
Stacey Alfano, Vanessa Dionne and Deb Milley
Shelby Smith, Cindy Escalante and Christina Smith
Tim, Mike, Nikki, Jeong
Tegan Taylor, David DeLeon and Melissa Sandora
Allen Goldman. Deb Milley, Michael DeVellis and TPG Team
On January 10 in Hollywood, the team at pro makeup artist favorite, Skindinavia, once again kicked off the biggest weekend in makeup artistry with their Skindinavia Celebrates Pro LA event! The party, which annually falls on the eve of the Make Up Artists & Hair Stylists Guild Awards (MUAHS) hosted more than 150 of the industry’s most talented makeup artist, hairstylists and industry insiders for what has become the pre-party of the year.
Hosted by Skindinavia founder, Allen Goldman and Director of Brand Development Deb Milley, the event brings together the MUAHS nominees along with the makeup artist membership of the Local 706 to celebrate their pro community in grand style in advance of the most important night in makeup. Attendees of this year’s event were treated to Continue reading →
How long have you been Department Head on SNL? Ive been Department Head at for the past 25 years. It’s so crazy to think about it seems like yesterday I was doing my first show. I still get butterflies in my belly when the band starts playing the music during warm up.
How has working on SNL changed the most over all those years? It has changed drastically. With the switch to HD it all had to change. The colors we used became more vivid. Every little thing showed. With prosthetics it really made a difference painting and application had to change. Before HD if there was a little edge you couldn’t see it but in the HD world everything had to be film quality.
This season I’ve started to do a lot more 3-D printing and 3-D scanning. In the past if we had to build a prosthetic for a host or cast member we would do a lifecast. But now I have every host Come in on a Tuesday and I scanned them just to be prepared in case.
How does 3D printing effect the process? In the past if the host needed a prosthetic I would not get them in for a life cast until Thursday afternoon or end of day. But now because we have our 3-D printers and 3-D scanners I have the host come in on Tuesday do a head scan which takes about 10 minutes and then print their head overnight so that if I have to read through on Wednesday I need it I have it and it’s ready to go.
How did you come to work on Hillbilly Elegy? A wonderful producer I worked for on My Sister’s Keeper called me and asked if I was available. My pal Patrica Dehaney and Amy Adam’s makeup artist Kate Biscoe put together a shortlist of people they thought would be good for the film, and I was chosen for the project. Very exciting!
The story revolves around a family who don’t necessarily take great care of themselves physically, Mamaw is a heavy smoker, Bev is a drug user, they are poor and presumably don’t eat healthily. How do you reflect their lifestyle through makeup design?
I knew that skin texture plays a part in reflecting lifestyle. Matthew Mungle created the prosthetics and did the initial test on Glenn so I had a template. After our makeup tests with cameras and lighting I knew I needed to pump up the details. Matthew liked what I did with Glenn and I adjusted as each lighting scenario changed. Mamaw was in the sun and was a smoker and a high stress lifestyle. Patty and I made sure we could see that; the rest was Glenn’s amazing performance.
Amy has beautiful skin with fine pores (and so does Glenn). I worked with Dave Anderson of AFX to create two Continue reading →