How did you come to work on Black Bag?
I was fortunate enough to be the hair and makeup designer for Black Bag after working with Steven Soderberg previously as designer on Magic Mike with Channing Tatum and Salma Hayek. To be asked back to design for this incredible director was an honor. He is a joy to work for, trusting me as his makeup and hair designer and supporting all my designs and thought processes behind the looks.
How would you describe your approach to designing the hair and makeup on this film?
My approach to designing is always quite organic. I am an artist originally, therefore I work on my own concept art, sketching looks and designs normally before the cast is officially attached. This allows me to play with different ideas and textures with hair and skin. Many directors find that my concept art helps them visualize the characters and helps them see any prosthetics or stand-out script points in a clear and direct way.
What can you tell us about the characters and how their makeup reflects their personalities or backgrounds?
We wanted Cate Blanchett to really take on a new look and character. She was so involved in creating her look and wanted the wig from the beginning. Made by her usual wig maker, it was important to allow Cate the freedom to dive into the look and develop the character. Regé’-Jean Page’s character was also a very specific design, with sharp military lines to his haircut and beard but not too immaculate, showing he has a history and a dark side. Regé was so great to work with in character development, we had some amazing design sessions. Marisa Abela, portraying Clarissa Dubrose, was also a wonderful character to design. I enjoy considering all aspects of the design process, including nails, as this is an essential part of creating an era and expressing the character’s personality. Her hair was also influenced by her costume. Collaborating closely with our costume designer, Ellen Mirojnick, on this look was crucial, as the grey dress was a stunning design. I knew this required intricate styling to highlight her collarbones and jawline. For me, it felt like sculpting with hair. Creating a piece to add to Marisa’s hair and arranging her hair around it was a beautiful experience.
Can you share some of the most significant makeup transformations you worked on for the film and what was involved?
Naomie Harris’ hair was a very important transformation. We went through a few collaborative designs from sister locs to micro braids, trying to work into the ethereal side of her character, eventually settling on beautiful passion twists with a lighter color at the end, which we hand-dyed to be able to control the additional hair and color tone needed for these to blend in with the tonal palette of the movie.
Cate Blanchett’s look was a big transformation, inspired by the flowing ‘70s, matching with some beautiful pieces Ellen pulled from Chloe’s latest catwalk collection, this very much influenced the glow, highlight, and sheen of the makeup. I also barbered Michael Fassbender’s hair with a traditional 1950s DA haircut, keeping him very classic and sharp with his clean-shaven flawless appearance. I was very inspired by Tom Ford’s A Simple Man.
Were there any prosthetic elements that you had to incorporate into the film? If so, can you tell me about that?
Our wonderful Pierce Brosnan has a prosthetic nose throughout the movie. It was important to him to work with the character’s history and back story to characterize him in a way he could relate to. So, I suggested a nose prosthetic which looks glorious on his profile. Working with Neill Gorton, a nose was sculpted and this worked well to help his character development.
What were some of your key products you couldn’t have worked on this film without?
Good skincare and glow is a big favorite of mine. I see skin as the scaffolding to the look. If the base is not right to begin with then whatever you build on top will not be immaculately polished. My team and I regularly started the day with Intraceuticals skincare to cleanse and hydrate the skin of our cast. I am also a fan of removing and reapplying bases at lunchtime to keep the products looking fresh and without too much buildup. Tom Ford and Makeup by Mario products are very good for the fresh skin look. I tend to favor Chantecaille tinted moisturizers for a base, with Suqqu foundations on areas that may need a little more coverage.
Was there a scene in the film you were specifically proud of?
To me, the overall look of the movie is what I am most proud of. All of our cast, captured in the beautifully lit dinner scenes, truly shone. Their glowing skin and sharply styled hair matched the polished quality of our film.
Is there anything you’d like to add about working with Steven Soderberg and on this film?
Steven Soderberg is a formidable director who allows the designer to create and apply, trusting in his teams to bring the magic from the art point of view daily. The script was so beautifully written, I was honored to help bring this resounding piece of cinema to life with the support of an incredibly talented team and actors who are true masters in their field. Every day was a collaborator’s dream.
Words: Shannon Levy
Photos: Courtesy of Focus Features
