How did you come to work on Fresh Off The Boat? 
I was lucky to have worked with the Production Manager, Jennifer Anderson on Pretty Little Liars, as well as other projects throughout the years and when she was looking for a Department Head Makeup she thought of me.

The show revolves around a family who is acclimating to a new experience in a new country. How did the social or cultural considerations that would go along with this concept come into play in your makeup design?  
The only difference I would say is the shape of the Asian eye, and you apply eyeshadow differently to compliment that shape and accent with lots of lashes.

Were there any specific inspirations for any of the characters' looks?  
The show is based in Orlando Florida, during the ’90s, so it is a period show. Back in the '90s, tans were a big thing, defined groomed eyebrows, body shimmer, lined lips, as well as a Smokey eye.

Can you tell us about the looks for Constance Wu's character; Jessica Huang? 
Constance Wu plays a housewife, who has written a book and is involved in her kid’s school. Her characters look is very put together. I give her character a smokey eye using the Anastasia Soft Glam palette, with DIOR Brow Styler to give her that perfect brow, and Urban Decay Corrupt eyeliner pencil to accent the Continue reading


How did you come to work on Charlie’s Angels?
I have worked with Elizabeth Banks for quite some time; often on smaller films as well as the first film Elizabeth directed which was Pitch Perfect 2 and again on Pitch Perfect 3. In total, we have collaborated seven times. She asked me to be a part of Charlie’s Angels and I was excited by the modern twist she put on this script and the fact that she wrote it, was directing it as well as starring in it. I was excited to be a part of this film and I liked the concept in the story and that it shines a light on the hero in all of us. It was important for me to put time aside to work on this film as I believe in unification and sisterhood is a great thing. If I was able to put my artistic spin on a project like this, I was ready to do it. 

How much time was put into pre-production?
I think we were prepping 6 weeks out. We were working on tear sheets and meetings and there was so much to collaborate on. We hired an international crew, which meant finding people with the right work ethic and everything that would work well for us. It meant finding a crew that was up for the challenges for traveling to multiple locations such as Germany and Istanbul. All of this needed synchronicity under incredibly demanding situations and I think we walked away with a feeling of unification of artistry. It was incredibly rewarding. We all learned so much from each other and I truly don’t think the learning ever stops.  Continue reading


The industry’s biggest night celebrates honoring outstanding achievements in make-up and hair styling in motion pictures, television, commercials and live theater.This year we are celebrating talented artists like Vivian Baker, Cristina Waltz, and Richard Redlefsen for Bombshell, Amy L. Forsythe, Heidi Pakdel, and Danielle Minnella for Russian Dolls, Janine Rath-Thompson, and Michelle Diamantides for Once Upon a Time … in Hollywood,  and Debbie Zoller, Dave Presto, and Jackie Risotto for Fosse/Verdon, along with many other talented artist.  Check below for a list of all nominees in each category, winners will be honored at the black-tie gala on Saturday, January 11, 2020, at The Novo by Microsoft at L.A. Live. Continue reading


Taking the time to find a renewed sense of energy and spirit might mean meditation or yoga for some. But, in my case — with a mind that is always racing onto the next thing — even the act of sitting still leaves me feeling more flustered than motivated. For me, wandering around and exploring a someplace that is new to me is something I find much more relaxing. Of course, there are also those go-to spots that I return to over and over again, where I know that just the smell of the air is powerful enough to make my heart soar. Discovering interesting culture and art and food and life, is the ultimate in rejuvenation for my mind and body. Letting my mind soar with possibility is always best
done where the experience of being is as important as the act of seeking. I’ve been so lucky in my life and career to have been able to experience so many amazing places that I have truly enjoyed. But there are definitely those incredibly special places that have me longing for more me time and a chance to come to a terms with my own most inspired moments.

The desert has always held my spirit close and made me feel connected to myself and Sante Fe is the ultimate desert town to become grounded in, if you want a mix of culture and calm. The galleries on Canyon Road — or maybe more so the ones hidden on side streets. The low road to Taos via the artists enclave of Madrid. Ten Thousand Waves Spa for a salt scrub and a soak in a tub hidden among the trees.

More Western than they probably want you to think, yet completely authentic. Filled with modernity, tucked amidst centuries old temples and tightly packed street markets. Art is Continue reading


How did you come to work on Euphoria?
I designed the makeup for a film called Under the Silver Lake, starring Andrew Garfield, and directed by David Robert Mitchell. The film was put out by the amazing A24, who are also very much responsible for bringing Euphoria to life, along with HBO. Based on my work on that film, A24 brought me in to interview with Sam Levinson, who was the writer, showrunner and director of the project. I also met with the director of the pilot, Augustine Frizzell.

The makeup on Euphoria is so experimental, how did you approach the design process?
I got most of my inspiration from Gen Z and experimental editorial makeup on Instagram, but I also drew from the late 1960s, taking inspiration from Twiggy, Nina Simone’s rhinestone eyebrow looks, as well 1970s Glam Rock moments. Gen Z is completely redefining what makeup can and should be used to do, by embracing a total freedom in expression and defying beauty and makeup norms.

Aside from designing the Euphoria makeup to be visually captivating and help propel the various story-lines forward, I was encouraged by Sam to Continue reading


Kit Focus: Bright Eyes
Limecrime Diamond Dew Liquid Eyeshadow in Aurora 20.00 Inglot AMC Eyeliner Gel #62 13.00 Sugarpill Loose Eyeshadow in Polar 14.00 MAC Liquilast Liner in Keep It Currant 22.00 Too Faced Sketch Marker Liquid Eyeliner in Papaya Peach 22.00 Melt Eyeshadow in Lovesick 17.00 CAO Liquid Matte in Gold 18.00 Lemonhead Glitter in Commando 24.00 MAKE UP FOR EVER Star Lit Powder in Turquoise 21.00 Urban Decay 24/7 Liner in Goldmine 22.00 Pat McGrath Labs Eyeshadow in Purple Reign 25.00 Dior On Stage Liner in Pink 30.50 Smith & Cult Glitterbaby in Blue to Pink 24.00 Graftobian Eyeshadow in Orange Geuse 14.00 Urban Decay Heavy Metal Liner Stage Dive 21.00 Danessa Myricks Colorfix in Royalty 18.00

NARS High Pigment Longwear Eyeliner in Sunset Boulevard 24.00 MAKE UP FOR EVER Aqua XL Color Paint in Pink 25.00 Chanel Ombre Premiere in Pierre De Rose 36.00 Kryolan Proliner in Copper 22.95 Stila Glitter & Glow Liquid Shadow in Enchanted 24.00 Stilazzi Borderline Intense Gel Liner in Emerald 11.00 Ben Nye Aqua Glitter in Purple 10.00 MustaeV Eyeshadow in Deep Capri 13.00 Face Atelier Shimmer in Pink Glaze 22.00 MAC Chromagraphic Pencil in Hi-Def Cyan 18.00 Ben Nye F/X Creme Color Chrome Yellow 9.50 ESUM Duo Pencil in Rose Aubergine 20.00 MAC Pigment in Basic Red 22.00 Mehron iNtense Pro Pressed Pigment in Night Sky 11.50 MAKE UP FOR EVER Artist Color Pencil in Lava And So On 18.00 Cozzette Infinite Eyeshadow in Abundant 12.00


How did you come to collaborate on Distortraits?
Kelly: We do a lot of beauty shoots with models coming through San Francisco. That  work can tend to have a limited shelf life. The Distortraits came about as a way to re-purpose those images and to give them a new life. By distorting them in-camera, the picture becomes less a portrait of a specific person, and more of a symbol, reduced to mood, tone and form.

How often do you collaborate on projects?
Kelly: We almost always work together whenever I have a booking. I have learned the lesson to never forgo professional makeup on a portrait shoot if I can help it. Stacy
is great at making people feel relaxed before going in front of the camera, which is a valuable asset. It’s why she’s always booked with commercial/corporate work.

What’s the best part of working with your spouse on creative projects?
Stacy: I love that Kelly is so motivated by the world around him. He is always taking in what inspires him, and his enthusiasm and attention to detail inspire me. We are both Continue reading


How did you come up with the idea for Mr Eyeliner?
The idea behind Mr Eyeliner is that the eyeliners are truly created for all individuals.  Many years ago, when I was a performer, young guys would come up to me after a show. They would tell me their stories of how they had to wear their sister’s or girlfriends’ eyeliner because they didn’t feel secure going to the store and buying eyeliner because they would be made fun of at the store. The original reasoning in creating Mr Eyeliner was to give everyone the freedom to purchase, wear and express themselves with eyeliners. Truly show that you can be yourself.

How did you become involved in the anti-bullying cause?
It was about four years ago. I started noticing bullying situations everywhere. No one seemed to have an outlet or safe place to discuss it. Too many just ignored it. I started searching the internet for Continue reading

ON SET: Heba Thorisdottir + Once Upon A Time in Hollywood

You’ve worked with Quentin Tarantino for more than a decade and designed the makeup for The Hateful Eight, Django Unchained, Inglourious Basterds and Kill Bill Vol.1 & 2. How did you start working together?
We met through a mutual friend, Julie Dreyfus, while he was writing Pulp Fiction. Then he seemed to be in every restaurant in Hollywood that I went to, and we would say hi. A couple of years later, Julie and I went to visit the set of Jackie Brown, and it was so much fun! I told Quentin when we left that I wanted to work on his next film, and I did not care if I was sweeping floors! He called me six years later and told me he was ready to do his film and reminded me that I had offered to sweep his floors. But I would not need to, instead I was going to department head Kill Bill.

With your history, how does the process of working on a Tarantino film differ from working with other directors?
No matter how well you know him, you never just relax – he gives 250% and I do not want to give him less. But, of course, you do develop a shorthand and understanding that is helpful. He also starts having screenings of films that are nspiring him way before we start shooting. It glues everyone together and makes it easy to talk to people and work together.

What was your makeup design process like for Once Upon a Time in Hollywood?
Quentin is not traditional, and for some of the actors he preferred their iconic looks rather than the correct time period. It is his love story to Hollywood, his hometown, and how he remembers it. As soon as I started prep, the first thing I did was go with Janine Rath-Thompson, the hair department head, and visit costume designer, Arianne Phillips. She had been on the film for Continue reading