How did you come to work on Bugonia?
I’ve had the privilege of collaborating on several projects with Emma Stone so when she recommended me to design makeup and hair for Yorgos Lanthimos’ Bugonia, I was beyond thrilled. There is something incredibly special about being connected to a project through trust and artistic alignment. Being recommended by Emma meant a great deal to me. I cherish working with people with whom I already share a creative language.
How did the decision for Emma Stone to shave her head as Michelle come about and what was that process and upkeep like?
Teddy and Don are conspiracy theorists and beekeepers who believe Andromedans communicate through their hair and possess powers through their skin. When they shave Michelle’s head we knew it had to be real. We never seriously considered a bald cap due to the maintenance and time involved. We wanted that moment to carry real depth. Mapping out the real shave was intense — there was no reset. From then on, I shaved Emma’s head every evening after work. I learned from a previous project that shaving after wrap prevents chasing loose hair trimmings on the actor’s skin throughout the day.
What inspired the hair and makeup design for Michelle’s flashback scenes?
For Michelle’s flashbacks, we explored several hairstyles before landing on what felt most authentic. I strongly believe in custom wigs, and my go-to studios in London and Europe are Alex Rouse Wig Company and Ray Marston Wig Studios.
For makeup, healthy, radiant skin was key. Beyond clean makeup and skincare, we incorporated Deesse Pro RED Light Therapy and Deesse Pro Sculpta with RF stimulation, allowing us to prevent breakouts right in the chair.
Can you walk us through the design of the antihistamine cream look and any challenges you faced creating this iconic part of the film?
Another scripted detail was Michelle’s antihistamine cream — part of Teddy and Don’s
conspiracy theories. My priority was finding a formula Emma’s skin would tolerate, something with staying power for continuity, yet gentle enough to avoid irritation. She patiently tested options for hours. When there was no reaction, we were relieved. The texture had to evolve with Michelle’s deterioration. We blended professional pigments with skincare formulas, adjusting tone, density, and wear to reflect her shifting condition. Products involved included La Roche-Posay, Vanicream Moisturizer, Haus Labs Triclone Skin Tech Foundation 000, Illamasqua Skin Base in White, and Kryolan.
What was the process for designing and executing the blood sequence?
For the blood scenes, camera tests were essential. Lighting conditions — how dark or light the room was, the hue of the surfaces — all influenced our choices. For Michelle’s blood-doused look, we mixed custom blend from Millennium FX in London with smashed soft bananas and string blood for texture. It was skin-safe, reset quickly, didn’t stain, and even smelled faintly of banana — practical magic. A simple water spray bottle maintained the sheen. We all know that removing blood with water only is key to preventing skin staining.
What about the hair design for Jesse Plemons as Teddy?
I’m especially proud of Teddy’s hair. Jesse arrived with shorter hair, but for a conspiracy theorist and beekeeper, length felt essential to the storytelling. I called my trusted collaborator Zoe Hosking Tahir, who transformed his hair using the finest micro-extensions and a carefully hand-selected color blend. The result was seamless. A simple ponytail or completely unruly, messy hair could instantly shift the storytelling. House of Scuff, Davines Volu Spray, and Kiehl’s Crème de Corps were my go-to products for Teddy’s look.
There’s a visible deterioration in several characters over the course of the film. How did you design that progression and manage continuity?
Teddy and Michelle had opposing skin philosophies, and I wanted that contrast to be visible. Teddy’s skin carried texture, sunspots, sweat sheen, unkempt facial hair, and increasing redness as his character unraveled. Dirtying his nails became part of our morning routine, along with covering tattoos.
Actor comfort is always a priority. For sweat, we relied on Lucas’ Pawpaw—it gives the right amount of shine without feeling sticky or heavy on the skin. Alcohol-based tattoo cover applied with a mini airbrush is a staple in every actor’s set bag when tattoos need covering. Color correcting is a must for me and my team.
Hair and makeup are integral to Yorgos’ storytelling. As every character evolves, continuity has to be meticulously documented, so we use a shared digital continuity platform accessible on everyone’s iPad, whether in trailers or on set.
Can you talk about the makeup and hair for the alien reveal at the end of the film? We began exploring the aliens early on, inspired by the idea that they communicate through their hair. Working closely with casting and costume, we searched for something expressive yet grounded. Ultimately, Yorgos and I felt restraint was the most powerful choice—the aliens would feel familiar and quietly unified rather than exaggerated or ornamental.
In the final scene aboard Michelle’s mothership, James Price and his team created something organic and otherworldly. Meeting Michelle’s people was emotional—diverse in race, body type, and expression, but united in purpose. Hair became their language, allowing each alien to communicate without words.
We explored extensions, braids, twists, and 38-inch wigs, but ultimately hair in its most natural state felt strongest. Creating looks that appeared untouched by tools was surprisingly complex and right for the story. Skin and makeup followed the same philosophy: restrained and human, enhancing age spots, freckles, natural lips, clear mascara and natural brows rather than forcing symmetry.
I’m incredibly proud to have been part of this journey — collaborating with artists I trust and admire, building something layered, intentional, and authentic from the inside out. It’s a film with a powerful message about our planet and the times we live in. We all have to do our part. And it starts with protecting the bees.
Words: Shannon Levy
Photos: Courtesy of Focus Features
