How ‘Frankenstein,’ Politics and ‘The Preppy Handbook’ Inspired Emmy Makeup Contenders

Whether through layers of prosthetics or a perfect wig, makeup and hairstyling help lay the foundation for creating our favorite characters onscreen. At Variety’s inaugural “A Night With Artisans,” a panel of exceptional makeup artists and hairstylists discussed an array of projects that, in very different ways, transformed ordinary people into extraordinary characters.

Jazz Tangcay, Variety’s senior artisans editor, moderated the panel and began by asking each guest to describe their approach to the work on their respective series.

Mike Hill, creature makeup design supervisor for Netflix’s “Guillermo del Toro’s Cabinet of Curiosities,” said his work begins with getting to the heart of a character. In the episode “Dreams in the Witch House,” adapted from the H.P. Lovecraft story and directed by Catherine Hardwicke, Hill says, “It doesn’t matter what sort of big nose or whatever else we give these witches. To me, it’s about the soul. It’s about what is that witch. Is she weak? Why is she doing these bad things? She thinks she’s doing good. What we try and do is explain why the monsters are indeed the monsters, or are we the monsters?”

In the recent season of “RuPaul’s Drag Race,” one episode challenged contestants to give five teachers drag makeovers. Makeup department head Natasha Marcelina reflected on the transformations makeovers can have both inside and out, saying, “Oftentimes the recipients of the makeovers are not makeup wearers. Maybe some of them have never worn makeup before ever. So the drag transformation can be really life-changing because it’s kind of going to the extreme, the opposite of what they’re used to. And drag is just an amazing way for them to also discover and reveal their alter egos.”

David Williams, makeup department head on Hulu’s “Welcome to Chippendales,” wanted his work to reflect “a real, authentic version of the ’80s, not a nostalgic look back.” The series introduces the origins of the iconic male revue through its creator, Steve Banerjee (Kumail Nanjiani). For Williams, this meant understanding the influence and impact of the AIDS epidemic on fashion and appearance. “From the beginning of the decade, men came into it fairly natural, longer hair, had beards.”

Williams went on to explain that the progression for men in the 1980s was particularly reflected in their grooming. “Men became very conscious of their physiques. Everybody wanted to look fit, muscular and healthy. A tan became a representation of having a healthy glow. And men became clean cut in their appearance, it became a very clean cut look.”

He referred to “The Preppy Handbook,” by Lisa Birnbach, which became something of a bible for men in the time period. “Steve Banerjee – Kumail’s character – was the embodiment of somebody who seized onto that and loved the conspicuous wealth of the 80s.”

Nichelle Young, head hairstylist for Max series “Rap Sh!t,” describes lead character Shawna’s (Aida Osman) transformation through her hair. The series follows a group of women in Miami trying to break into the music industry by forming a rap group.

Young highlighted some of Shawna’s journey as she began with natural hair. “We progressively brought her up to speed with Mia (KaMillion). She’s more of a Miami chick, so she was the more upbeat. She was the one who was vibrant and Shawna started looking at her and see that maybe this will help me get my deal.” For Shawna – and Young – this meant wigs. “The wigs became a really big part… Shawna starts to look more like Mia which looks more like a rap group. Her music starts to pick up for the both of them and her transformation helped the group, and the group helped her as well.”

When Tangcay asked the panelists about time and collaboration, Williams described some of the challenges of producing a series during COVID, when locations would fall through and entire concepts needed to be reconsidered. One such incident led to the creation of something entirely new. “I had to work with a production designer and come up with a completely new concept with a new set, a new look and new ideas.” The new concept was an homage to “Frankenstein,” “The Rocky Horror Picture Show” and “Cabaret.”

Williams continued, “When you’re up against a wall and time is not your friend, to be able to collaborate with other people who know your language, they understand it and they’re willing to move to the level that you want it to be, that’s what makes the magic happen. And that’s what makes our blood flow. That gets us going.”

Hill scored some laughs when he described working with actors on prosthetics, saying, “It’s extremely vital when you’re choosing somebody for prosthetics that they know how long they’re going to be sitting. It’s not a pleasant time. Don’t get me wrong, it’s not as bad as they pretend it is!”

He went on to say, “We just spent six months preparing it, and eight hours a day repeating it, three hours applying it, looking after them for 12 hours on set and then take another two hours to remove it. I feel for them, but not as much as they might like.” He quickly added with a grin, “I love actors!”

In speaking about time and collaboration, Young emphasized the importance of communicating with her showrunners. After one incident where four actors showed up to the makeup trailer in immediate need of wigs, Young sat down with producer Issa Rae to discuss timing and preparation. She said the key was “talking and figuring out what’s coming and moving forward.”

But, she added, “We’ve been in the game for quite some time and we become department heads because we know how to troubleshoot fires out. That’s what makes a good artist.”

At a time when the LGBTQ+ community fights for their right to exist, Natasha Marcelina closed the panel with a brief but passionate invitation to viewers to embrace “RuPaul’s Drag Race.” She emphasized, “Drag is for everyone. Drag is meant to entertain, uplift, make you think, give you a new point of view. And something beautiful to look at as well.”