What drew you to Grotesquerie
The project seemed like a great fit for many reasons; besides providing steady work after a lean, post-strike year, I would have an opportunity to exercise my TV muscle, I’d get to draw from a spectrum of makeup techniques, and I would have the chance to design a visual narrative for a metaphysical crime thriller.
What was it like collaborating with Ryan Murphy, and how did his vision shape your designs?
I was a little intimidated since it was my first Ryan Murphy project, but Hair Department Head Valerie Jackson really helped guide me. Ryan has this encyclopedic knowledge of film and art, and his references are so inspiring. The vision boards and testing process aligned perfectly with how I like to work, and having Max Winkler and Alexis Martin Woodall as showrunners made the collaboration feel incredibly open and energizing. I also want to credit Naima Jamal, Niecy Nash-Betts’ personal makeup artist — her beautiful work helped define Lois’s character and was essential to the story. Having her there was such a gift.
How did you approach designing the characters’ waking vs. coma-world looks?
Both worlds needed to reflect mass existential despair — shaped by recession, addiction, and disenfranchisement — with a raw, unpolished look: men unshaven, women largely un-made up, always carrying a sense of impending doom. Supporting characters’ appearances hinted at something off, which later revealed itself as Easter eggs from Lois’s subconscious. Once we learned about the coma-world during filming, we designed contrasting looks that still made sense in waking life.
Nurse Redd has a distinct theatrical presence. What went into creating her look?
Nurse Redd (Lesley Manville) combined the rigidity of Mrs. Danvers from Rebecca, the mystery of Rachel from Blade Runner, and the predatory glamour of Catherine Deneuve from The Hunger, making her a seductive, gaslighting authoritarian. Once revealed as Marshall’s mistress and a cam-girl, her look softened into a Rita Hayworth–style femme fatale, hinting at vulnerability but always carrying a sexual threat to Lois.
Can we talk about Niecy Nash-Betts look as Lois?
Going to the source on this one. Niecy’s personal makeup artist Naima Jamal had this to say about Lois’ look.”Ryan’s vision helped me understand the duality of Lois Tryon: in the coma-world she reflected addiction, betrayal, and sadness, while in reality she appeared more pulled together and vigilante. The trench coat provided a subtle clue, as it feels unusual for a detective. Since eyes are the windows to the soul, I wanted the audience to feel a connection so I added a dark brown, smokey eye shadow to the bottom lashes and rimmed the top in black.”
What was the makeup process behind Sister Megan?
I was lucky to have makeup artist Victor Del Castillo dedicate himself to Micaela Diamond, who played Sister Megan. He really understood the arc of the character and created looks that deepened her transformation on screen. From her introduction as an innocent nun to the unraveling of her darker obsessions, Victor used subtle “no makeup-makeup” techniques that evolved into something more unsettling—by the end, Micaela looked more Manson cult than Renaissance painting. He also designed some of the most memorable story-driven details—like the bruise that appears on her face to suggest we may not be seeing reality, or the moment when she appears in full makeup and stilettos while still in her habit, symbolizing Lois’s blurred dream state. When burns had to be applied to both Micaela and her stunt double, Victor meticulously created a template to ensure perfect continuity. And for the final “Chief Megan” look, he gave her a sophisticated lavender-toned smokey eye that tied beautifully into the palette of her real-world wardrobe. Victor’s work elevated Micaela’s performance and made Sister Megan’s evolution unforgettable.
What about Father Charlie’s overall design?
In the coma-world, Father Charlie was styled as a cult-like blend of rockabilly idol, holy man, and fitness guru—both iconic and unsettling. To set Nicholas Chavez apart from his recent Lyle Menendez role, assistant department head Tierra Richards used lace sideburns, a pale complexion, and tattoo coverage. Father Charlie’s hidden proclivities soon surface once his clothes come off. This is where our makeup effects designer Justin Raleigh took over, creating self-flagellation wounds with silicone appliances that showed progressive bruising and swelling. Each was stitched with thick black thread, echoing the killer’s blanket-stitch motif. Justin designed the stages, with Ozzy Alvarez and Rob Hinderstein handling daily applications.
Is there a scene or makeup moment from Grotesquerie that you’re especially proud of?
There are many standout scenes — but what’s most remarkable for me is the transformative work Tierra Richards did on Merritt (Raven Goodwin) and Ed Laclan (Travis Kelce). With subtle makeup choices, she shifted Merritt from recluse to scientist. She turned Travis Kelce’s clean-cut look into a mulleted, feckless, unfaithful man. She built hair pieces that seamlessly integrated his beard into his wig so you couldn’t tell where one ended and the other began. That’s the thing about Tierra — she can do anything you throw at her. That’s the kind of artist you want by your side!
Words Shannon Levy
Photos Courtesy of FX
