The Artisans Behind the Magic: A Celebration of Makeup and Hairstyling in Film

The world of cinema is often dominated by stories of actors bringing characters to life or directors shaping the vision of a film. But behind the scenes, there’s a group of artisans whose work is just as vital—makeup and hairstyling designers. These creators are the sculptors of transformation, turning flesh and blood into monsters, villains, and fantastical beings. For them, their craft is not just a job but a lifelong passion, a way to fulfill childhood fantasies of creating the extraordinary. This year’s Oscar nominees in the makeup and hairstyling category are a testament to the power of practical effects, proving that even in an era dominated by CGI, there’s magic in the tangible, the real, and the human touch.

The Golden Age of Practical Effects: A Look Back

Once upon a time, special effects were almost exclusively achieved with makeup, prosthetics, and ingenuity. Films like An American Werewolf in London (1981), The Fly (1986), and Beetlejuice (1988) showcased the artistry of makeup designers who could turn latex, foam, and paint into unforgettable monsters and marvels. Ve Neill, a three-time Oscar winner (Beetlejuice, Mrs. Doubtfire, Ed Wood), recalls the early days of CGI when studios began to favor digital effects over practical ones. “When the new kid on the block shows up, everybody wants to go play with them,” she said. Yet even then, Neill never worried about being replaced by computers. She knew that makeup artists brought something irreplaceable to the table: the human element.

When CGI Stepped Into the Spotlight

In the early 2000s, the film industry underwent a seismic shift. Computers became the go-to tool for creating special effects, and practical makeup began to take a backseat. While CGI offered unparalleled possibilities for scale and complexity, it also lacked the organic, tactile quality of handmade effects. Makeup artists like Neill held their ground, knowing that their craft couldn’t be fully replicated by machines. Now, with this year’s Oscar nominations, it seems the tide is turning. Films like The Substance, A Different Man, Wicked, Nosferatu, and Emilia Pérez are showcasing the power of practical effects, reminding audiences and filmmakers alike of the magic that happens when human hands shape the on-screen world.

The Resurgence of Practical Effects: A New Wave of Creativity

This year’s nominees for makeup and hairstyling are a testament to the resurgence of practical effects. In The Substance, Pierre Olivier Persin crafted two full-body prosthetics and countless other pieces, bringing a visceral realism to the film’s grotesque yet mesmerizing visuals. Meanwhile, in A Different Man, Mike Marino’s makeup design for Sebastian Stan involved prosthetics that transformed the actor into a character with sloughing face tumors, a look so unsettling it feels almost alive. These designs aren’t just about shock value—they’re about creating a physical, emotional connection between the audience and the characters.

For Wicked, Frances Hannon, the hair and makeup designer, opted to paint Cynthia Erivo’s skin green rather than relying on CGI. Erivo herself preferred the practical approach, wanting to see her character’s transformation in real time and experience the reactions of her fellow cast members. Similarly, in Nosferatu, the prosthetic-heavy makeup for Bill Skarsgård’s portrayal of Count Orlok required over 50 individual pieces applied to nearly every part of his body. The result is a creature so vivid, so real, that it lingers in the viewer’s imagination long after the credits roll.

A New Era of Collaboration: Blending the Practical and the Digital

While practical effects are experiencing a resurgence, they’re not being used in isolation. Many artists today embrace a hybrid approach, combining handmade prosthetics and makeup with digital tools to achieve the best of both worlds. For example, 3-D scans can now be used to create life casts of actors, a faster and cleaner alternative to traditional methods. Digital effects can also be used to smooth out the edges of prosthetics or create seamless transitions between makeup looks.

Traci Loader, the makeup designer for Nosferatu, describes digital tools as “a brush” that enhances the work of makeup artists rather than replacing it. This collaboration between the practical and the digital allows for a level of detail and realism that would be impossible to achieve alone. Jon M. Chu, the director of Wicked, sums it up perfectly: “The real, physical things give me inspiration.” When practical and digital effects work together, the result is nothing short of magic.

The Heartbeat of Cinema’s Future: The Soul of Practical Effects

At the heart of this resurgence is a deeper appreciation for the human touch. When artists create something with their hands, they imbue it with a sense of soul and authenticity that digital effects alone can’t replicate. Mike Marino, the makeup designer for A Different Man, puts it this way: “When you make something with your hands, some soul carries through.”

While some worry about the growing influence of AI on filmmaking, others see it as an opportunity to highlight the unique value of practical effects. “There’s design areas where, no matter what you do, you couldn’t transfer them to postproduction,” says Frances Hannon. The tangible, the real, and the human are becoming a form of rebellion against the homogenization of digital effects.

As Pierre Olivier Persin so eloquently puts it, “This is magic.” The magic of practical effects isn’t just about creating monsters or fantastical creatures—it’s about preserving the soul of cinema, the heartbeat that makes movies feel alive. And as long as there are artisans like Neill, Marino, Hannon, and Persin, that magic will never truly fade. The future of makeup and hairstyling in film is bright, and it’s handmade.