“Hello nss g-club! I’m Sophie Hartnett, a makeup artist based in Brooklyn, New York. My work lives between fashion editorial and whimsical, nature-influenced makeup, with a love of special effects that push beauty into stranger, more unexpected territory“. What more is there to say? The latest episode of Under the Beauty Radar is here, featuring a vibrant guest who glides from the whimsical to the monstrous in the blink of an eye, and who has worked with the biggest it-girls of the moment. Here is what she told us.

Interview with Sophie Hartnett for Under the Beauty Radar

What are three words that describe your aesthetic?

Timeless, playful, and daring. I come from a family that’s been in fashion since the early ‘80s, and the first thing I really learned was clean, refined skin: true beauty makeup. Now, ten-plus years in, I’ve been pushing my creativity to balance that clean aesthetic with special effects techniques, elevating a beauty look into a full story. The goal is a finish so striking it looks almost AI-generated, the kind of work that makes the viewer ask how, why, and when can I try it myself?

When did you first realize that this was the path for you?

Coming from a family of creatives, I realized very early on that whenever I want to express myself, I do it through craft. Whether it was arts and crafts - papier-mâché, painting, collage or music - singing, songwriting, performing - it always came back to making things with my hands. Eventually that became painting on people’s faces. I knew my path was in art, and fashion and makeup became the way - not a new way, but my way - to express my view of the beauty industry and the world, and to create the makeup I want to see in it.

Where do you draw inspiration from? Do you look to current trends and social media, or do you find it elsewhere?

I draw a lot of inspiration from the makeup artists who paved the road for beauty, Kevyn Aucoin and Pat McGrath are two of my strongest inspirations. Beyond that, I find so much in nature, from naturally occurring textures to sacred geometry. Trends and social media move fast, but I prefer to look elsewhere, to the masters and to the natural world.

When did you realize that your aesthetic would lean non-traditional and, at times, even monstrous?

I knew from an early age that I wasn’t one to follow trends, I’ve always been more inspired by the off, the unknown, the weird. And I love that in 2026, that’s being celebrated more than ever; I’m so happy to be working in this era. I do believe every trend bases itself in something real. Would I call myself monstrous? Maybe not, but as a powerful double Leo, I’d say I’m daring. I’m willing and ready to push boundaries and create a real wow factor, always grounded in timeless, beautiful makeup.

What is beauty and what is ugliness to you in life and in your work?

Beauty, for me, is like a major chord. It makes you happy, makes you feel content and stable, it makes you feel warm inside. That’s the bass for my makeup: clean, beautiful skin, an approachable eye, something timeless, something you’ve seen before. But then I like to incorporate what you’d call the ugliness: the weird, the unknown, the questionable, like a minor chord set against the major. They both live in the same world, they can exist in harmony, and that’s what I aim to create.

How does your approach shift when working on a runway show, a photoshoot, or a more personal, artistic project? Do you notice any key differences in your process?

I love working runways. A lot of people I’ve worked with have said I’m fast, and that’s something I hold very dear. I’m quick with my art, but very intentional. I especially love doing a runway when I’m keying, like I did for Pipenco’s last spring/summer fashion week show. I created the look, pulled a team together, and put my vision forward in a quick, seamless way. A photoshoot feels completely different, because you’re not just collaborating with the designer, there’s the hairstylist, the photographer, and the magazine, and together we all collaborate and put something forward that we might never have gotten to without each other. For my personal projects, I’ve been working with one of my favorite hairstylists, Jenni Iva. It’s just the two of us: creating from a concept, finding a model, shooting, editing, all the way through to publishing it ourselves. Lately that’s been the most exciting thing for me, taking something from the very beginning of a concept all the way to the end, to posting it and sharing it with the world. Each of these spaces brings out a different side of me as an artist, they’re all different in their own way.

What was it like working with Julia Fox for Luis De Javier?

Recently I’ve had the opportunity to work with icons and legends like Julia Fox, Slayyyter, Dominique Jackson, Daniela Lalita, Cailin Russo, Jazzelle aka Ugly Worldwide, Peaches, and so many more. Getting to work with people who have their own vision and their own persona has elevated me as an artist, because I’m not just creating for me and my vision. I get to create inside their world, inside their vision, and that has helped me so much in my career. It’s made me adaptable, I can take my weird and wacky and beautiful and weave it together with their weird and wacky and beautiful.

What does the future hold for your artistic research?

The future is always unknown for me, and I try to find the beauty in that every day. I’m always finding a new image that inspires me, a new artist I’d love to work with, a new song that brings up an emotion and pushes me to create something I never would have. I hope to work with more amazing musicians and artists, and to collaborate with more creatives in my industry and out of my industry. I’m excited for the next year and new beginnings, and I hope you’ll stay tuned!

Under the beauty radar goes whimsy, but the good kind. Our new installment after the hot hot summer is dedicated to Flavie Delobbel, face slayer, makeup artist and hairstylist. In her words, her vision of makeup and beauty is always changing and evolving, and has its roots in creativity and art, in things you can do with your hands. Here’s what she told us.

Interview with the makeup artist Flavie Delobbel

How would you define your aesthetic in 3 words?

Surreal, graphic and experimental.

Can you tell us how your journey began and how you found your creative expression?

I have always worked with my hands for as long as I can remember. I have loved drawing, painting, and sculpting since I was a kid. I grew up in a really creative family who let me explore art from a very young age. I always knew I would work in the creative and art field. It was a part of my identity; I felt it in my soul. I started playing with makeup around eight years old, stealing products from my mom’s vanity. I really loved the bright pink lipstick she was applying every morning. At 11 years old, I started drawing makeup looks, doing research, and looking at fashion shows… And from there, it just grew sporadically around me. I was dreaming of becoming a makeup artist in Paris, working on shows and campaigns. After high school, I spent a few years studying art in Paris, both plastic arts and theory. After that, I took a regular retail job. At 22, I finally stepped out of my comfort zone, quit my boring retail job, and committed to a makeup school in Paris (DMAI Paris). I graduated and started my business. Best choice I have ever made in my whole life. I am now working full-time in the fashion field; a dream come true.

When you start creating a look, what comes first: the face, the idea, the mood, or the product?

For me, it always starts with the story I am working on. The first step is understanding what purpose the makeup is going to serve, and what feeling I need or want to convey. But I’d say I’m really the kind of person who goes with the feeling in my gut.

Where does your inspiration comes from? Is there a particular medium (film, music, art, literature etc.) that has especially influenced the way you see beauty?

My inspiration comes from all sorts of things. I am a really visual person; I love observing details. I’d say I take a lot of inspiration from nature (landscapes, insects, fauna and flora) but also from art in general: paintings, films, sculpture… I studied art for a few years at university, which I think really influenced the way I see things and approach any form of art. I’m really into analyzing things.

What’s a makeup memory that still feels special to you, even if it has nothing to do with your work as a makeup artist?

Something I love to remember is my mother getting ready really early in the morning. I would step out of my room, the house still in the dark. Only the warm light of the bathroom was pulling me out of my sleep. I would just follow the light to say good morning to my mother. And there she was, packing on a ton of Guerlain Terracotta to feel “tan” and applying loads of black mascara, followed by a thick layer of bright fuchsia lipstick. I can still remember the smell of the powders mixing with her perfume. I think it really started here.

Is there a makeup trend you don’t feel connected to, and one your particularly love?

I think I’m really one of those people who says, “Just have fun with makeup.” I don’t really care too much about what’s on-brand or what isn’t. I just think the best way to do makeup is to have fun and play with it. So just go for it. Go grotesque, go minimal, go invisible, go full-on… as long as you feel good. And if calling your makeup “Matcha Latte” or “Clean Girl” makes you feel good and empowered, you’re already winning.

Looking ahead, where do you see your creative journey taking you? Is there someone you’d dream working with or a project you’d love to bring to life?

I hope to meet even more creative minds who challenge my own. There is no better feeling than that. Twisting minds to create beautiful, and sometimes twisted, beauty. And of course, I would love to work with some amazing photographers like Nadia Lee Cohen, Petra Collins, Elizaveta Porodina, Kévin Drelon… And many, many other cool people.

Your work feels quite far from traditional ideas of beauty. What does “beauty” mean to you now?

To me, beauty is an empowerment to the people who pronounce it. Beauty has no lines, shapes, colors, or forms. Beauty can be everything and its opposite. Beauty is truly designed by everybody, everywhere, in everything. Own it; feel creative with this concept. Beauty is what you want it to be. Beauty is a conversation, a glance, a thought. Not something that you look at, but something that you feel.

If, watching a fashion show, you have admired the consistency between clothes and make-up, between face and body. If you have thought that, in fact, the emotion that snakes on the catwalk can also be seen on the models’ faces - and whether they are made up in a fresh and natural way, colored or glow, dark and melancholic does not matter - then there is a high probability that you have had the privilege and pleasure of observing make-up looks created by Michele Magnani and his team. We ourselves met him backstage at Milan Fashion Week, always available to tell us everything, even in the chaos behind the scenes. For this reason, he seemed like an excellent candidate for Under the Beauty Radar, our column dedicated to professionals, especially those who travel under the radar… literally. This is what he told us.

Interview with Michele Magnani, Global Senior Artist for MAC Cosmetics

Introduce yourself to our audience

My name is Michele Magnani and I have been a make-up artist for over twenty-five years. Today I hold the role of Global Senior Artist for MAC Cosmetics. I started when this profession was very different from today: there were no social networks, there was no idea of the make-up artist as a character. There was only a desire to learn and to do their job well. Even the products available were not as many as they are now, and for this reason experimentation is part of my way of interpreting my profession. In recent years I have been lucky enough to work in more than 80 fashion weeks around the world, in the countryside, with photographers, designers, celebrities and to meet people from all over the world. But, if I have to be honest, what still excites me today is exactly the same thing that excited me on the first day: hitting the mark, seeing a person looking in the mirror and feeling good. Recognize yourself! Make-up is my language. It’s the way I found to tell emotions through texture and color, identity and character without the need for words.

How would you define your visual style in three words?

Authentic. Intentional. Emotional. I like that every choice has a meaning and to tell it. I don’t believe in makeup done just to amaze. Even the most creative look must express something about the person or story it wants to represent. The beauty that interests me is not the perfect one, but the one that, due to its simplicity or technique, leaves a mark on the memory and an emotion in those who look at it.

When did you realize that this would be your job?

I think I understood it long before I had the courage to admit it. As a child, I constantly drew faces, I watched my mom and sister wear makeup fascinated, I observed people, colors, light. I was curious how a detail could completely change an expression or an image. Then, after a few years as a freelancer, MAC came along and changed my life. It gave me a creative home, but above all it taught me that make-up could also be art, culture, freedom of expression and above all inclusion. From that moment on, I had no doubts.

You are the king of backstage fashion shows. What do you like best and what, on the other hand, do you not like about the backstage environment?

Backstage is the place where fashion is the truest. From the outside you can see the glamor. From the inside you can see the work, the effort, the respect for the times, the collaboration and that strong positive tension that is created a few minutes before a fashion show begins. It’s a perfectly organized chaos. What I love is just that energy. Very different people who, for a few hours, work with a single objective, on a shared project. There is no ego when time is running out: there is only teamwork. What I have the hardest time accepting is superficiality. When the ego takes over collaboration. Fashion may seem like a light world, but in reality it requires discipline, study and a lot of humility. When appearance is stronger than competence, it loses appeal.

You work with MAC Cosmetics. When was this synergy born and what does it mean for you to work with such an iconic brand?

I joined MAC in 2001, exactly 25 years ago and, looking back, I realize that it was not simply a job. It was where I grew up as an artist and primarily as a person. MAC has taught me not to be afraid of creativity, provocation or alternative makeup, but also to have enormous respect for those who sit in my chair. One thing I always say is that the products, on their own, don’t speak. Make-up artists are the ones who give them a voice. Through gesture, technique and interpretation, taking care of ourselves, we transform a lipstick, eye shadow or foundation into an emotion. And that’s what continues to fascinate me.

Tell us how a fashion show look was created, from the creative director’s idea to its creation

It all starts with a conversation (test day). The creative director recounts an emotion before even talking about make-up. It can be a woman who just came out of the sea, a party at 5 in the morning, a childhood memory, a movie, a painting or simply a feeling. Our job is to translate that vision into something that can live on a face. From there, a continuous dialogue began with hairstylist, stylist, casting director and photographer. You do tests, you change your mind, you remove elements, you add details. The hardest thing is to find the point where make-up stops being the protagonist and becomes an integral part of the story. When it happens, the look really works.

What do you get your inspiration from?

From life. From trips, from museums, from photography, from cinema, from architecture, but above all from people. I like to watch how they move, how they talk, what they wear, even how they fix their hair. I believe that creativity stems from attention and from the desire to understand others. The more you observe the world with all its differences with curiosity, the more you have something to tell.

How do you relate to trends? Do you follow them or do you try to create them?

Trends are a photograph of the present. I like to study them because they tell the historical moment we are living in, but I don’t think it’s our job to follow them. I prefer to interpret them or anticipate them. The difference between a trend and a style is that the former passes, while the latter continues to talk about you even when fashion changes.

What’s in your future?

I hope I never lose my curiosity. The thirst to know. I would like to continue working in fashion, create new projects, talk about make-up also through training and help new generations of artists to find their voice. If there’s one thing I’ve learned over the years, it’s that success doesn’t match a goal. It coincides with the possibility of continuing to get excited. And that is what I hope for the coming years.

When you think of FKA twigs, what comes to mind? Otherworldly music, an alternative vibe, but also hair. And if we asked you who's behind some of the most memorable hairstyles of recent times (for the singer and dancer, among others), would you know the answer? We do. It’s Louis Souvestre, a self-described 'hair freak' whose creativity has sparked a whole new wave of styles, colors, and cuts. We interviewed him for Under The Beauty Radar, our series exploring the beauty that lies beneath the surface.

Interview with Louis Souvestre

Introduce yourself

My name is Louis Souvestre, French, living in London.

Describe your aesthetic in 3 words

Experimental, otherworldly, storytelling.

How were you first introduced to hair as a form of art?

I started loving hair from the age of 3, when I realized everything I could do with my cousin’s super long hair. Then, from the age of 8, a new girl arrived mid-term at my French countryside school from Senegal, and her hair was like something I had never seen before. She had cornrows, and then the next day she came with mid-back-length box braids. I was mesmerized and so intrigued, like everyone else at school.
When I asked her about it, she told me her mum was a witch and could make her hair grow overnight. That answer definitely stimulated my creative process and made me see hair as a form of art.

Who are your muses? What do you get inspiration from?

My muses are usually female warriors from fantasy or historical illustration books I had as a kid and still collect now. I recreate new ones in my head by combining them with other inspirations that I take from wildlife, space, sculpture, or even helmets and headpieces. I don’t really look at other hairstyles. I just love combining things together.

How did your and FKA Twigs collab come about? Do you have a specific process you follow with her when it comes to hairstyles?

I first worked with FKA twigs 5 years ago on the set of her music video “Measure of a Man.” While I was doing her hair, she asked me what I would do on her if I had complete freedom. I told her she would look amazing with looks inspired by the 18th century, recreated with dreadlocks and twists. Then weeks went by, and to my surprise, her team reached out to me for her next project called Caprisongs, and we have never stopped working together since then. My process with Twigs is usually us talking about feelings and the story she wants to tell. We share ideas and images we find and discover, often not hair-related. From there, we talk about world-building, shapes, and creating something that feels new and intentional. I usually listen to her music before creating any new hair for her and enter my own world and brain, where I constantly create new ideas, concepts, and visuals that I can incorporate into Twigs’ world.

What’s your favorite part about working with artists and how do you creative a whole world for them based on just hairstyles?

My favorite part of working with artists is discovering their world and being able to help them elevate it and bring their vision to life. To create worlds based on hair, I usually use their universe so it feels authentic, and then combine it with mine. It’s also very important to learn their personality and body language, looking at how they carry themselves, so the hair world I create suits them and elevates them. I also need to understand how they see beauty and art, as it is very subjective.

Hair in fashion is often left behind. What’s your relationship with fashion and what role do you think hair has in it?

I don’t think hair in fashion is left behind, but the value of hairstylists is. We are often seen as doers rather than creators, and that’s why I put so much importance into my research, my creativity, and my craftsmanship, so it becomes part of my DNA.

What’s the difference between working on real hair / wigs? which one do you prefer?

Both are amazing for different reasons, but I would say I use 80% natural hair in everything I do because it is such a versatile and multifaceted medium. On the other side, synthetic hair can be amazing for bigger-scale hair pieces.

If you could give some advice to young hairstylists, what would you tell them?

My advice is to spend more time in your brain, cultivating your imagination and your own world, because that’s what is going to make you stand out from everyone else. We are all so lucky to be born with different tastes and brains that no one can really access until you are ready to show them. As cringe and basic as it may sound, just look at books, nature, and what is around you. Be curious and carry on learning, even about things that have nothing to do with your art. Trust me, at some point they will. Appreciate and learn to be by yourself and create worlds inside your head. Collaborate and exchange with the right people who have the same sense of world-building. Another thing I do every night before bed is choose a few books with pictures I like just to look at. That’s the last thing I do before sleeping, so my brain can process all those images while I sleep. And journal and document every idea you have, so you can expand them.

Often, in Under The Beauty Radar and across nss G-Club more broadly, we explore a critical perspective on beauty in the age of social media. We question certain dynamics, trends, and the easy enthusiasm that often surrounds them. But our fascination with Beatrice Pavan, aka Ciocchette, is anything but a fleeting obsession. We interviewed the queen of Y2K-inspired colorful hair extensions, who introduced herself like this: “I studied to become a makeup artist and hairstylist, and three years ago I moved to Milan to pursue that dream. At the same time, I always wanted to create something of my own. Hair, in particular, has always been my language: it’s a passion that has been with me since I was a child and that, over time, became the center of my work. One day I painted an old hair extension strand for myself, without imagining that this small personal project would eventually become something I could share with everyone.” And where else could that happen, if not on social media? Here’s what she told us.

Interview with Ciocchette, the Y2K hair extension wizard

How would you describe your visual style in three words?

Chaotic, cunty, chameleonic.

Where does your passion for hair come from?

I think I’ve always had it. As a child, I was obsessed with the colorful hair extensions that were popular between 2010 and 2013, and I always wanted to have one applied at the hair salon. For me, hair has always been the most immediate way to express who I am. I change my color, shape, or hairstyle and the way I feel changes too: it’s like creating a new version of myself every time, my own little avatar. At the same time, I’ve always been the friend who did everyone’s hair: colors, cuts, bleaching…

What inspires you when you create your Ciocchette?

I let myself be guided by the moment and by what I’m feeling. Every time, almost without realizing it, I repeat the same little ritual: I sit on the floor, prepare my table with all the dyes, put on some music, and start creating. From that point on, I don’t overthink it. I let instinct take over.

Tell us the names of some stars or pop icons you would love to have in your roster.

Christina Aguilera, Kesha, and Avril Lavigne. I’d say they are my mothers in this world. They were among the icons who made me discover and fall in love with the idea that hair accessories and colorful strands could become a true form of personal expression.

Do you feel more like a content creator or a hairstylist?

First and foremost, I feel like a hairstylist. I actually think that’s the foundation of everything: Ciocchette was born from my work and my passion for hair, and only afterwards did the content side come along. I’ve always been behind the scenes in this world, and maybe that’s exactly why stepping into a more visible role for the first time has been such a rewarding experience. What has happened so far, even if it might seem small from the outside, has been something huge and unexpected for me. Of course, I hope it continues to grow, because I believe the world of content can be an incredible launchpad for my work. The most beautiful thing has been receiving so many private messages from people who became passionate about my project. So far, I’ve received nothing but positive support, and that motivates me to keep going.

When a brand commissions a project from you, how does the creative process work?

Since this project was born from my own creativity, I always try to preserve a very personal part of my work: my shades, my colors, and my style. Of course, I listen to the client’s needs and ideas, and then we develop them together, creating something that reflects what they want, that they feel comfortable wearing, but that still carries the identity of Ciocchette. Not every client needs to create a completely new Ciocchetta from scratch. Through renting, they can also choose from ready-made pieces. One of the things I love most is seeing how the same Ciocchetta can completely transform depending on who wears it and the context in which it’s used. Everyone brings their own vision, and I love seeing how an idea that started with me can become something deeply personal for someone else.

When you create for yourself rather than for a client, how does your approach change?

When I paint for myself, I keep the same approach I’ve always had: it has to be a moment of freedom and fun. I’ve always made sure not to lose that carefree side, because that’s exactly where my creativity comes from. Obviously, when I work for a client there are specific needs to respect and an idea to develop together, but even then I always try to leave a part of myself in the project. For me, it’s important that painting remains something joyful and doesn’t become just an execution.

Two hair trends you love and two you hate?

I don’t really love trends in general. Sometimes I feel like they make us forget our individuality: they start telling us what is beautiful, what is not, and how we should look. I believe style should come from the freedom to express yourself, not from the desire to look like everyone else and follow a trend.

What does being creative mean today?

For me, being creative today means being in love with what you’re doing, without too many rules. The most important thing is giving ourselves the space to experiment, make mistakes, and follow our instincts. Creativity is an adventure: you need the courage to embrace it, but it’s also one of the most beautiful things there is.

“I’m Clarissa Carbone, and I’m a make-up artist.” As part of our ongoing search for make-up artists and beauty professionals - with a special focus on Italy - our next featured creative could only be her. From fashion shows to editorial shoots, she’s constantly in pursuit of authenticity. “I started this journey by following a passion that, over the years, became my profession. Today I work within the fashion industry, but what still excites me most is the possibility of disrupting expectations and rewriting the rules. To me, make-up isn’t just about aesthetics, it’s a tool for transformation and self-confidence.”

Interview with Make-up Artist Clarissa Carbone

How would you describe your visual style in three words?

Essential. Intuitive. Direct. I like to start from the person, or the idea, depending on the context, and build something that feels natural, even when it’s highly creative. Something that fits seamlessly with everything else.

Where did your passion for make-up come from?

As a child, I was always the one paying attention to details. I still am. Colors, textures, the way light could completely transform a face. When I was 14, my first boyfriend obsessively collected Vogue Italia editorials, cutting them out and organizing them chronologically in binders. That gave me the chance to spend hours looking at those images. That’s when I realized make-up wasn’t just about beauty, it was a language. And I knew that one day, I wanted to develop my own.

What’s inside your reference archive?

A bit of everything. Steven Meisel’s and Annie Leibovitz’s ‘90s photography, Tim Burton’s films, Galliano’s runway shows, but also real life. My mother’s perfectly polished red nails, which I admired as a child. The women I met while traveling through Tanzania, who used baobab seeds as lipstick. The best references rarely come from make-up itself.

Make-up is often associated with a traditional, performance-driven idea of beauty. How do you approach it? Are you searching for beauty, or something else?

I’m searching for something that feels true. Beauty interests me when it has character, when it expresses someone’s personality rather than chasing an impossible ideal. Sometimes all it takes is highlighting a single detail; other times, it’s about completely breaking the rules. To me, make-up isn’t about hiding, it’s about amplifying.

In an ideal world where anything is possible, who would you love to work with?

People with a strong vision, regardless of their field. If I had to name one person, it would definitely be Pat McGrath. She’s one of the people who has most influenced the way I see make-up. I actually had the opportunity to assist her backstage at a fashion show, and it was one of those experiences that reminds you exactly why you chose this profession. Looking beyond a single collaboration, my dream would be to become the Creative Director of a make-up brand. I’ve always been fascinated by everything that happens behind a product, from the formulas and textures to the color palette, the packaging, and the way it’s ultimately presented. If I had to choose a brand, I’d say Byredo or Gucci Beauty.

What does it mean to enhance someone through make-up? And what does it mean to tell a story with make-up? Where do those two ideas meet, if they do?

I think they meet far more often than people realize. Enhancing someone doesn’t mean changing them, it means bringing out something they may not even have noticed about themselves. Telling a story is essentially the same process, just with an added creative intention. In both cases, make-up works best when it doesn’t cover the person, but accompanies them.

How do you approach trends? Do you think they stimulate creativity or suppress it?

I pay attention to them, but I don’t chase them. Trends are interesting because they reflect the moment we’re living in, but they’re also incredibly short-lived. They’re a bit like the people you meet at a party: some you’re genuinely happy to see, others make you want to go home after five minutes. I like understanding why a trend emerges, but I never feel compelled to follow it. I’d rather create something I’ll still love five years from now.

What does it mean to be creative today?

Today we’re constantly surrounded by flawless images and endless inspiration. To me, being creative means having the courage to be bored every once in a while. The real challenge isn’t finding ideas, it’s figuring out which ones are actually yours. If you’re consuming images all day long, you inevitably end up repeating someone else’s. My best ideas always come when I stop looking for them.

What advice would you give someone who wants to work in this field?

Be curious rather than perfect. Technique can be studied and improved every single day, but curiosity is what truly helps you grow. My father always used to tell me: choose a job you’ll still love on the hardest days, and you’ll always find joy in it. And finally, learn how to listen. A great make-up artist works with brushes but, above all, with people.

“I’m Giorgia, I was born in Taranto in 1991, and I’m a make-up artist. After graduating from classical high school, I moved to Bologna to attend university. Puglia is a place I feel deeply connected to, but I felt the need to experience a different environment and broaden my opportunities for personal and educational growth.” This is how our conversation with Giorgia Lecce, the latest guest on Under The Beauty Radar, begins.

“My relationship with make-up started very early, during my first dance recitals. I began dancing when I was four, and after just a few years, I already enjoyed doing my classmates’ make-up backstage before performances. I loved those moments because they allowed me to express my creativity while also seeing how make-up could completely transform a face.” Manual skills also played a key role in shaping her creative background and references. “I’ve always had a strong passion for drawing and anything involving craftsmanship and hands-on creativity. That’s why, after high school, I decided to follow my artistic instincts and enrolled at the Academy of Fine Arts, where I studied Visual Arts. It was a fundamental experience that gave me the opportunity to experiment and express myself through different forms and materials, deeply influencing the way I approach make-up as well. I’m incredibly grateful to my family, who have always supported every choice I’ve made.”

Interview with make-up artist Giorgia Lecce

How would you describe your visual style in three words?

I don’t really like labeling myself or reducing my style to just three adjectives, because I see it as something fluid and constantly evolving. However, I would say that my style is refined and versatile, allowing me to adapt to different situations without losing my identity. For me, it’s important to maintain a recognizable aesthetic consistency that reflects my taste and my way of seeing things, regardless of the context I’m working in.

How did you get started?

At the Academy of Fine Arts in Bologna, I had the chance to experience art in a very tangible way, experimenting and creating through different forms and materials. I studied Visual Arts with a focus on sculpture. I took many art history and theoretical courses, but what truly fascinated me were the drawing and sculpture workshops: they were the moments when I could express myself freely, working with materials that felt most natural to me. Ever since I was a child, I’ve had a strong inclination toward anything involving creativity and manual skills, and art has always been a space where I felt completely at ease. After graduating, I decided to move to Milan to attend a make-up school and finally pursue what had been a childhood dream. From there, through hard work, sacrifice, and dedication, opportunities came gradually but naturally.

What inspires you? Cinema, music… tell us about your references

Music and the visual aesthetics connected to it are definitely among my main sources of inspiration. I grew up surrounded by music, both because my father was always playing records at home and because I danced for many years. I can honestly say I’ve gone through almost every music genre, simply because I’ve always been curious. It was an essential journey in shaping my taste and understanding what truly resonated with me. Having grown up during the ’90s and early 2000s, I’ve been deeply influenced by the imagery of those decades. In particular, R&B music videos from that era had a huge impact on the way I perceive beauty. Even today, I’m fascinated by ultra-glossy, sharply defined lips, luminous golden skin, and warm, vibrant colors in general. My visual references stem from this blend of music, imagery, and visual culture that I’ve absorbed over the years and continue to update through everything that surrounds me today.

You work on fashion shoots, music sets, and with celebrities. How does your approach change? What do you enjoy most?

Working on fashion sets and music productions are definitely two different realities, but both feel very much like home to me and enrich me in different ways. There isn’t one I prefer over the other. I’m most drawn to situations where I have the opportunity to truly express myself and, so to speak, contribute my own perspective, going beyond corrective or purely technical make-up. I find it much more interesting when I can contribute creatively, engage in dialogue with the project, and bring something personal to the overall vision. That’s what motivates me the most in both contexts. Working with artists is especially rewarding because music is such a huge passion of mine. Following an artist means stepping into their world, their projects, and their creative journey, which makes the experience even more engaging. I also love the idea that meaningful teams can grow and strengthen through work, because I believe collaboration and harmony among people are fundamental - and often decisive - for the success of any project.

What do you hope for the beauty industry in Italy? What is still missing, and what makes it such a great environment?

I hope the Italian beauty industry continues to evolve toward greater openness and inclusivity. There have definitely been positive changes in recent years, but I still believe there is room to better celebrate diversity, both in terms of aesthetics and professional paths. In some contexts, I think there’s still a lack of true creative freedom and trust in individual talent, regardless of labels or hierarchies. It would be wonderful to see more collaboration and a greater openness to ideas, even those that fall outside traditional frameworks. At the same time, I find it to be an incredibly stimulating environment, full of creative energy. It’s a dynamic world where you can grow tremendously, and where exchange with others is constant and invaluable.

Do you think make-up artists today have the creative freedom and artistic recognition they deserve?

I think make-up artists today certainly enjoy greater visibility and recognition than in the past, but the artistic value of our work is not always fully acknowledged. In some contexts, creative freedom is genuine and respected, especially when working within open-minded teams and on projects where make-up is considered an integral part of the overall vision. In other situations, however, the role of the make-up artist is still seen as purely technical or supportive, when in reality it can - and should - be so much more. To me, make-up is a form of creative language. The artistic dignity is there, but it also needs to be defended and built through the way we present ourselves and the kinds of projects we choose. It’s a balance that is evolving, but one that has not yet been fully achieved.

How do you approach trends? Do you follow them, avoid them, or create them?

I don’t have a particularly close relationship with trends and, in most cases, I tend not to follow them, as I often see them as temporary phenomena that aren’t always meaningful in everyday work. I prefer focusing on a more personal and conscious approach that reflects my own vision and understanding of make-up. When followed passively, trends can become repetitive and predictable, limiting individual expression. For this reason, I choose to maintain a certain distance, prioritizing a coherent aesthetic research that is constantly evolving and capable of adapting to different contexts without losing authenticity.

What never leaves your kit?

I love skincare and pay particular attention to the complexion because, for me, it is the foundation of every successful make-up look. That’s why a carefully curated selection of skincare products is something I can never do without. I enjoy trying new launches and incorporating into my work the products that, in my opinion, truly perform and make a difference. Proper skincare is essential for achieving the best make-up results, and it should always be tailored to the skin type in front of you. For this reason, I always make sure to carry a broad and thoughtfully selected range of skincare products in my kit.

What would be your dream collaboration?

My dream collaboration would definitely be working with international artists whom I deeply admire and follow. I’m fascinated by the way they build their image and visual identity, and by how make-up becomes a fundamental part of their language and artistic storytelling. For me, make-up works best when it exists within a broader creative vision.

“I’m Vanessa Icareg, a make-up artist. For me, make-up is first and foremost a tool for transformation and storytelling. I’m interested in creating characters, atmospheres, and emotional states through the face and body, building images that are at once narrative, melancholic, and suspended, existing in dialogue between fashion, art, and visual storytelling.” And that’s how our latest episode of Under the Beauty Radar begins, the series dedicated to beauty professionals who go beyond the surface.

Interview with make-up artist Vanessa Icareg

Describe your style in three words

Narrative, melancholic, unsettling.

How has it evolved over time? What kind of visual research are you pursuing?

I’ve never seen make-up as a tool for enhancing beauty. From the very beginning, what interested me was its ability to define an identity, build a character, or suggest a visual universe. My research is the sum of everything I’ve collected throughout my life: images, memories, films, experiences, people, obsessions, and references that continue to settle and evolve over time. It’s like having a personal archive that I constantly draw from. My work comes from translating these codes into a visual language. I’m interested in transforming deeply intimate and familiar elements into images that can be shared and interpreted by others. In that sense, every project becomes a form of storytelling, a way of giving new shape to something that already exists in memory.

Can you tell us about your professional journey?

My path hasn’t exactly been linear. I started in theatre, transforming actors into characters. Then I worked with children, who are probably the most honest and hardest audience to impress. Later, I worked in the adult film industry, an environment that taught me speed, pragmatism, and how to develop a very direct relationship with the body. Fashion came only afterward. Sometimes I think my current approach comes precisely from this unlikely mix: a bit of theatre, a bit of childhood fantasy, a bit of raw reality, and finally image-making. Perhaps that’s why my work constantly moves between storytelling, transformation, and identity.

You’ve built a recognizable aesthetic: slightly messy, dreamy, and not always “beautiful” in the traditional sense. What inspires you?

I’m fascinated by images that exist in shadowy spaces, where beauty and strangeness coexist. I find inspiration in fashion photography, cinema, contemporary art, and visual subcultures that use the body as a means of expression. I’m drawn to images that retain a sense of ambiguity and a certain melancholy, images that cannot be exhausted by a single interpretation. Rather than perfection, I look for images that suggest something without fully revealing it.

How do you approach your work on set? How does the creation of a look for others begin for you?

I always try to start with the narrative. Even before thinking about make-up, I want to understand what visual universe we’re building and what role the face will play within that image. I often gather references that don’t belong to the beauty world at all: photographs, films, archival images, materials, or visual fragments that are part of my personal imagination. From there, I begin constructing a language that can interact with styling, lighting, and photography.

Your work often has to interact with very specific aesthetics, such as Ann Demeulemeester’s. How do make-up and fashion either connect or create contrast?

When working with very strong aesthetic identities, I first try to understand their language. I’m not interested in make-up overpowering the other elements; I want it to help amplify the narrative. Sometimes the dialogue happens through harmony, while other times it emerges through a subtle contrast that introduces tension and makes the image more complex. I believe the most interesting images are born from the balance between these two possibilities.

Are there any colleagues whose work you follow? Who would you recommend we follow?

I admire the work of many colleagues and industry professionals, but it would be difficult to mention only a few without risking leaving out others who are equally important. Instead, I’d rather recommend some of the sources that have shaped my visual imagination. I find The Romance of Food by Barbara Cartland incredibly inspiring. I’m fascinated by its almost kitsch aesthetic and by the way food imagery is paired with objects such as antique porcelain. It creates a very interesting visual dialogue, especially from a color perspective, and it continues to be a major source of inspiration for my make-up work. I’m also fascinated by the face-painting work of Serge Dyakonov and by Serge Lutens, a true visual genius capable of creating an extraordinarily rich and deeply personal aesthetic universe.

What’s your favorite beauty product, the one you can’t live without?

The Chanel Sublimage concealer and Armani Luminous Silk blush in the shade Bold Pink.

What’s your relationship with beauty trends? Which ones do you like, and which do you avoid?

I observe trends as cultural phenomena before I see them as aesthetic ones. They’re interesting because they reveal the desires, fears, and aspirations of a particular historical moment. That said, I try not to chase them. I’m more interested in building a personal language that can evolve over time without depending on current trends. I avoid anything that tends to homogenize images; I prefer what leaves room for identity, imperfection, and experimentation. Ultimately, what interests me is creating images that remain open to interpretation, images capable of existing within that ambiguous space between attraction, memory, and imagination.

“I’m Stephanie Glitter. I live to transform myself, to tell stories through the body and the face, and to bring fantasy into everyday life: a mix of glamour, irony, and a little bit of chaos here and there.” That’s how our interview with Stephanie Glitter begins. This is someone who hardly needs an introduction, except for the ones she gives herself. A truly multifaceted creative, she has turned herself not only into a character, but also into a form of “social art” (as she calls it): communicative, entertaining, and incredibly effective. That’s exactly why we decided to include her, as an honorary guest, in our Under the Beauty Radar series, which explores beauty in all its forms, including the unconventional ones.

Interview with Stephanie Glitter

This format is dedicated to make-up artists and beauty experts. Give us your pitch: why are you one of them too?

For me, make-up isn’t just aesthetics, it’s identity-building. Every face I create becomes a character, an amplified emotion. I’m a professional make-up artist in every sense of the word, not only because I paint myself like a living canvas, but because I’ve worked in fashion for many years: runway shows, red carpets, international campaigns with luxury brands. Along the way, I became increasingly fascinated by artists’ visions, having the technical ability to express their desire to appear in their own theatrical form deeply inspires me. The projects I still carry in my heart are Dario and Veronica from La Rappresentante di Lista and, more recently, the visual identity for Ditonellapiaga’s album Miss Italia. I love when work meets my highest aesthetic expression, it draws me in completely.

Do you consider yourself your own make-up artist and hairstylist? What don’t you do yourself?

Absolutely. I’m my own laboratory. Make-up, wigs, styling, manicures… I do everything myself. It’s my obsession. Creating looks is almost a mystical process: the research, attending shows already fantasizing about the next outfit I’ll wear, then coming back to my studio and starting to piece everything together. It’s not just a fitting. It’s a chaotic dance of iconographic language. This with that, that with something else. I make an absolute mess: shoes everywhere, wigs tangled with jewelry, earrings on the floor, mountains of clothes hanging around. When a look finally works, I feel this rush of adrenaline running through me. The house is left destroyed, and I keep the Polaroid to remember what to wear for the next occasion.

Let’s get serious again: how important is it for you to have total control over your look?

It’s essential. My look is my language and my calling card: every detail communicates something. Without clothes, accessories, high heels, make-up, and hair, I literally wouldn’t exist. Stephanie only takes shape through these elements, just like a painting without color would remain a blank canvas. Having total control means building exactly the image I want to project and enjoying it without compromise, bringing an almost rhetorical femininity into ordinary contexts: something that sparks a subtle intellectual itch in whoever’s watching.

How would you define your style in three words?

Eclectic, distinctive, and slightly provocative. I like there to always be a subtle erotic reference hidden within the codes of the way I dress. I often aim for something elegant and playful, usually colorful, but it’s that tiny secret mistake that excites me because it makes everything more interesting.

Tell us about your beauty routine in detail (and how long it takes)

It basically lasts 24 hours a day… let me explain. For me, beauty is a ritual, a constant practice of self-care. Sleeping well, clearing my mind, eating healthy, and allowing myself the occasional indulgence are the foundations of my method. In everyday life, I pay special attention to my skin: skincare morning and night, plus occasional treatments with next-generation devices to encourage skin regeneration. My cosmetic drag, on the other hand, takes about two hours of grooming from beard to doorway, ready to go out.

What makes the Milan drag scene unique? Tell us about your journey within it and how it differs from scenes in other cities

Milan is all about cross-pollination: fashion, clubbing, art. The drag scene here is highly aesthetic but also experimental. I started performing in underground clubs and built my style by blending fashion and pop culture. There’s a strong fashion influence here, everything has to be visually powerful, especially lately. Compared to the scenes I experienced in London, where glam-punk culture shapes everything, or Paris, where French cabaret defines the most sophisticated and precise glam in Europe - maybe even internationally - Milan feels more carefree and fresh. It merges the city’s fashion energy with club culture without too many layers of structure, allowing for a more instinctive creative approach. I feel like I’ve translated an entire drag encyclopedia into a personal language, distilled into a kind of minimalism that preserves its essence while remaining permeable enough to truly coexist within contemporary society.

Where do you draw inspiration for your looks?

Everywhere: vintage magazines, runways, cult movies, pop icons, ‘90s advertising. Even people on the street can spark an idea in me. I love taking something real and pushing it to the extreme. I keep a folder filled with images, both for myself and for the clients I work with. Having a specific moodboard for every look is essential. It’s a process I genuinely love, the research phase allows me to have all the ingredients ready, like in Asian cuisine. Unlike the way we usually cook, where ingredients are cut and incorporated along the way, in Asian cooking everything is already prepared, cleaned, organized, and ready for assembly. That’s exactly the approach I apply to my work: I arrive at the make-up or hairstyling moment fully prepared and organized, so I can then let myself be inspired by the moment and actually have fun. First structure, then play.

Which make-up trends do you love, and which ones can’t you stand? Do you follow trends in general?

I love the return of gloss, intense black eyes, bold textures, and false lashes. What I can’t stand are overly “clean” trends. I observe trends, but I don’t follow them blindly: I filter and transform them. Don’t get me wrong, everyone expresses their beauty however they want, but I think make-up is far too fun not to get a little messy with it. People often say make-up hides or masks you; I believe the exact opposite. I think it reveals you. Embracing nuances, not only in eyeshadow but also within your own identity, moving through them and accepting both their light and contradictions is, to me, the most authentic beauty routine we can give ourselves.

What does the future of your look look like?

In my future, I see an increasingly radical evolution. I feel like I’ve moved past a sort of stylistic adolescence. I’ve experimented with everything: volume, hairstyles, clothes, hundreds of make-up shapes and colors. Now I feel a more authentic confidence with my alter ego, to the point where becoming Stephanie feels as natural as flipping on a light switch. I want to enjoy this new phase, more of a young-adult vibe. I feel like I’m in my Carrie Bradshaw era. Through my new editorial project, Senza Zucchero, my free Substack newsletter, I’m also exploring another side of my aesthetic and storytelling. One defining feature remains my hair: I still love impulsive transformations, but lately I’ve been feeling blonde like panic itself.

Under The Beauty Radar is nss G-Club’s format exploring beauty artists by going a little deeper. Deeper into the very concept of beauty itself, into inspirations, contaminations, and experimentation. So it was only natural that one episode would be dedicated to Greta Giannone. To be clear, she’s the make-up artist behind the looks of Olly and Gaia but she’s also so much more than that. Beneath the surface, this is what she told us, starting from herself and her story before diving into the transformative power of make-up, which doesn’t just make people look attractive, but does so much more.

Interview with Greta Giannone, the SFX make-up artist behind (among others) Gaia and Olly’s looks

Introduce yourself to our audience

I’m Greta Giannone, I’m 27 years old and I’m Sicilian, born in Noto but raised in the province of Varese from 2003 onwards. My passion for make-up was born in Sicily, watching my mother work (she was a make-up artist at the time) and my uncle, who is still a make-up artist and head of the hair and make-up department at the Greek Theatre of Syracuse since 2000. I spent my first springs and summers in that place, surrounded by actors and costumes. When I look for myself, I still see myself enchanted among those sets and reconstructions. Right after graduating in human sciences, I wondered whether to continue along that path and study Philosophy or return to something more visceral yet artistic. I was searching for a form of expression; I probably needed to lighten myself after an adolescence full of intense and conflicting emotions. I decided to enroll at the BCM make-up academy and later studied Special Effects at La Scala in Milan. I know there’s destiny in all of this.

Describe your artistic style in three words

Mutant, sexy, gore.

You’re a make-up artist working with stars and singers, but also with prosthetics and SFX make-up. What feels most natural to you?

I feel like both, and I don’t fully recognize myself in just one direction. If I think about what feels most true to me, I’d say it’s the dialogue between these two worlds. I identify with both because, ultimately, they answer two different yet complementary needs in the way I create, or even simply the way I see things. Make-up can be an act of listening, while SFX make-up is a possibility, a kind of hyper-realistic surrealism. I don’t think this duality is a contradiction. Make-up always exists between these two poles: on one side it reveals, on the other it alters. It’s a language that defines and rewrites. In that sense, I see myself in this oscillation: between respecting what already exists and imagining what could exist. It’s constant tension, and that’s what keeps my work alive.

My approach changes drastically, even if the root remains the same. Make-up is the quieter side of my work: it’s enhancement, observation, the ability to connect with a face. It’s a delicate gesture, almost intimate. I find delicacy rewarding. I look for a balance that feels believable, without interrupting the identity of the person in front of me, especially when we’re talking about an artist or celebrity. There’s a deeply relational, almost empathetic component. Special effects activate a more instinctive side of me and require entering a completely different mindset. It’s a more transformative approach, but one developed through highly technical stages: planning, sculpting, moulds, material knowledge, chemical processes, all steps that demand control. It’s an almost “mechanical” precision but also a freer one, a more altered narrative surface. I work to create illusions that feel believable, even when they take you far away from reality. In both cases, whether make-up or prosthetics, the concept of truth remains central.

Can you tell us about your professional journey?

I started around 2019, after graduating and while attending make-up school. I used to shoot with photographer friends and junior stylists; we needed material and we needed to put ourselves out there, to be seen. It took a lot of perseverance and faith in what I was doing. My family was fundamental in this because they were the ones telling me, “you know what you’re doing,” when in reality what I was doing was simply believing in it. The feedback eventually came. Music videos, magazines, and so on. Over the years my work evolved, and today I’m part of the teams of artists I love, both professionally and personally. Between 2024 and 2025 I worked on my first film as head prosthetic department, Orfeo by Virgilio Villoresi, presented at the 82nd Venice International Film Festival. It’s a project I carry deeply in my heart because it feels like a small miracle. There’s still so much to do!

How does a cover look come to life? Tell us about your creative process

A cover look is born from the interaction between different departments, from translating an idea into something more concrete and operational. My creative process undoubtedly starts from the search for meaning, which I consider fundamental. Often, in project moodboards, I come across countless references (even related to prosthetics) included purely for impact, completely unjustified and without any real narrative reason behind them. I always ask myself: Why?! What is supporting this? I believe a creative process, to truly work, needs intention. I need to enter the narrative framework, or at least know there is one. Trust me, often there isn’t. In any case, I constantly feed myself by watching an enormous amount of cinema. I think knowledge is one of the best ways to truly learn how to see.

In Italy, the SFX make-up field still feels very niche. The general public barely knows these artists. Why do you think that is?

On one hand, there’s definitely a cultural issue. SFX is often associated with genre cinema or very specific productions, so it remains distant from the more immediate language of fashion or the beauty industry, even though in recent years there have been interesting intersections between SFX and fashion. There’s still very little awareness of these figures or this field. It remains a territory that is rarely talked about, and honestly, I’m okay with that because it feels like a way of preserving it from overuse. That said, I truly hope conditions in Italian cinema evolve in ways that encourage the use of prosthetics to tell stories different from the ones we’re used to seeing.

SFX make-up doesn’t seek beauty, but effect. What changes? Do you think there’s something revolutionary about that?

Everything changes. It has a completely different goal, above all the need to feel believable. I would define it as unsettling, tied to the Freudian concept of “Das Unheimliche,” meaning the familiar made strange. It breaks our habitual perception of reality, creating a kind of mental friction, even if only for a moment. We could say, or believe, that there’s something revolutionary about it not because it rejects beauty, but because it completely detaches itself from that parameter. It’s a language that doesn’t aspire to please. Sometimes it’s simply necessary, and that alone is revolutionary. “Transformation happens because it cannot not happen.”

Which make-up trends do you love, and which can’t you stand? Do you generally follow trends?

One trend I love is glitter lip combos. One I hate is blush make-up, simply because it means nothing. I don’t particularly love the concept of trends itself, nor the way they’re generated and consumed. Social media is hungry for content: everything is immediate and temporary, with very few truly new ideas. It’s difficult for a professional not to perceive trends as repetitive in their visual grammar.

Are there any make-up artists you follow and would recommend?

Sadhbhnicuidhir, yurybelyavskiy, izzigalindofx. To me, they’re disturbing, fascinating, and fun.

”I’m Luciano, born in Milan in 1985. My artistic streak has always been there: as a child I would spend my time creating objects out of nothing using cardboard, inventing shows, studying characters and taking care of every detail, from costumes to makeup. After attending art high school, I felt the need to explore this fascination with transformation. I didn’t know much about makeup from a technical point of view, but I decided to take the plunge and enrolled at BCM in Milan. It was love at first sight: there I discovered a wonderful world and started to play with it. What began as an experiment is now my job: I’m a professional make-up artist and I split my time between photo shoots, fashion show backstage and celebrities across Milan, Paris and London.”

This is the magical introduction to our new episode of Under the Beauty Radar, dedicated to Luciano Chiarello, a make-up artist without limits. We’ll let him speak and allow his words to tell and explain his practice, his inspirations, his art and his work. Enjoy the read!

Interview with Luciano Chiarello, Milan-based make-up artist

Describe your style in 3 words

Talking about myself always makes me a bit uncomfortable, but over time I’ve learned that it’s important to value your own talent and vision. If I had to sum up my approach to make-up in three words, I’d choose: thoughtful, colorful, creative. Thoughtful because I always try to carefully study the volumes of the face I’m working on, the colors and what I want to express with my make-up. Colorful because I then let creativity take over, and color is often the path I follow. It can be a single color or multiple shades combined or blended to create new ones. Creative because what I love about my style is that I never know where it will end up. I often start with an idea, but if something around me catches my attention - like a beam of light or a reflection falling on my model’s face - I change direction, and what I had planned transforms into something completely different.

Can you tell us about your professional journey?

My “baptism by fire” was on the set of a commercial with a famous football player, while I was still in school. From there, the make-up artist I was assisting introduced me to the industry. I worked my way up through commercials, music videos and theatre. Then came the Venice Film Festival: for three years I worked on international stars, learning the rules (and secrets) of the industry and the celebrity world. The real turning point, however, came with fashion. Working alongside a hairstylist, I joined an agency and started assisting a make-up artist: Topolino. I’ll always be grateful to him, it was an incredible learning experience. From there my path really took off as a professional. I worked on editorials and campaigns, also assisting backstage icons like Charlotte Tilbury, Aaron de Mey, Peter Philips and Lucia Pica (with her I was part of the core team for all Chanel shows, an unforgettable experience, and today we’re great friends).

I lived in Paris for three years, working in huge teams on incredible sets, before returning to Milan a year before lockdown. Here I met my current agency, Julian Watson. Today, alongside shoots, I work as a Key Artist for fashion shows of brands like N21, Alberta Ferretti, Ermanno Scervino, Luisa Spagnoli and Etro.

What inspires you? Is there anything unexpected in your references?

I’m an insatiable observer. Art, cinema and theatre are my foundations, but I often literally lose focus if something on the street catches my eye. People themselves are a huge source of inspiration: it’s enough to capture a detail, make it your own and reinterpret it. Something unexpected in my references? My moodboard is total chaos, full of contrasts. There was a period when I was obsessed with textures: among my references you could find rusty taps, peeling walls and industrial materials. Anything can translate into inspiration for a color or a texture on the face!

We met you backstage at fashion shows. How do you bring your creativity into that context and how does it meet the designer’s vision?

Backstage at a fashion show is pure teamwork. The real challenge is merging your creative vision with the needs of the designer and stylist. The process always starts with listening: what is the inspiration behind the collection? What kind of woman do we want to portray? Together we analyze key colors, fabrics, but also the location, lighting and casting. That’s when I step in. I develop a couple of looks that encapsulate the whole narrative, and then we move on to makeup tests. My goal is to never limit myself: I always try to introduce a bold, creative detail that makes a difference. At the same time, you need the clarity to understand when “less is more”: sometimes a nude makeup and perfectly clean skin have the same visual impact as a highly conceptual look, and they can be the key to making the collection work at its best.

How does your approach change from fashion show backstage to editorial makeup?

The initial approach is similar in terms of briefing and idea sharing, but the main difference is the adrenaline of the unexpected. For a show, you decide the makeup days in advance and have to ensure it’s replicated identically by your team on dozens of models, adapting it to each face and skin tone. On a photo shoot, instead, everything is live. You don’t test anything beforehand, and your creativity must be fast and reactive. If the concept allows it, you can create incredible things. In those cases, I always prepare a small moodboard before arriving on set and bring unusual materials with me, ready to pull a trick out of my sleeve.

What is your favorite, must-have product?

I have a real obsession with luminous, ultra-hydrated, flawless skin. Achieving that base would require too many products, but if you pair it with a beautiful red lipstick, you get - at least in my opinion - the essence of beauty in enhancing a woman’s face. So without a doubt, I’d say red lipstick.

Tell us about the craziest makeup you’ve ever created

In 20 years of career, I’ve done everything, but two projects really stuck with me. In London, for an editorial for T Magazine, the photographer wanted the effect of an unfinished sculpture: I covered the model from head to toe in white clay! Luckily she had fun, even though it required a lot of patience. Another very “crazy” project I did recently involved gluing mirror fragments onto the model’s face, creating the illusion of shattered glass. It was an extremely meticulous and time-consuming process. Again: all thanks to a very patient model!

What’s your relationship with beauty trends? Which do you like and which do you avoid?

It’s definitely a love-hate relationship. Social media is an amazing tool, but professionally speaking it often takes away originality. It repackages old techniques as “new” and makes creative thinking lazier: we’re used to having everything already done and seen, so our brains make less effort to create from scratch. Take the famous glass skin created by Pat McGrath for the Margiela show: incredible. But in my opinion, she shouldn’t have revealed how she did it! Keeping it secret would have pushed us to experiment, to search for our own way to achieve that effect. Instead, knowing everything immediately takes away some of the magic of the process. That said, of course I follow trends. Today, new languages are born there and you have to stay constantly updated, because questions about “new trends” are always around the corner. In the past, trends were dictated exclusively by the runway, and you had to wait for the next season to see what would be in style; today, social media has completely taken over that dynamic.

“I’m Kola Payer, the creative soul behind Kola the Tooth Fairy. I define myself as a smile professional: my work is all about transforming a small detail into a one-of-a-kind design accessory. I work in various Italian cities, where I aim to merge technical precision with the aesthetic vision of tooth gems”. This is the opening of the new episode of Under The Beauty Radar, the nss G-Club series that explores the underground beauty world in all its forms. Today, for example, we’re talking about teeth.

Interview with Kola Payer aka Kola the Tooth Fairy

How would you define your aesthetic in three words?

Ethereal, bold, anatomical.

Tell us how you started and how you found your artistic expression

I started out of a desire to merge smile care with self-expression. My artistic concept was born from observing light: I didn’t just want to decorate, I wanted to create facets that interact with the facial features. I found my voice by experimenting with different symmetries, realizing that a tooth isn’t a flat canvas, it’s a three-dimensional surface that reflects the personality of the wearer.

Adapting tooth gems to each smile requires both experience and study. How do you find the right approach for each client?

Every consultation begins with a study of the client’s facial structure and tooth alignment. I don’t believe in “copy-paste”: I analyze the space and shape of each tooth to suggest a design that enhances, rather than covers, and that lasts over time. The key is listening: I try to understand the client’s vision, whether they want a minimal, chic touch or a heavier, more underground setup, and translate it into a safe technical plan.

How did you become passionate about tooth gems? Where did it come from, and how did you decide to make it your career?

My passion started from looking at ‘90s and 2000s hip-hop culture, but I wanted to elevate it, bringing it into a more editorial and sophisticated context. I knew it could be my career the first time I saw the joy on a client’s face in the mirror. That’s when I realized tooth gems are a form of decorative self-care, a way to reclaim your own smile.

How does your work make you feel? Tell us about the importance of giving confidence to your clients

It’s incredibly rewarding. Many people are initially shy about their smiles; my job is to transform that shyness into a strength. Seeing someone leave my studio grinning ear to ear because they finally love what they see, that’s the best part. Giving confidence means giving someone one more reason to smile freely, without filters.

Tooth gems have become increasingly accessible in recent years. With uncertified artists and DIY kits available online, how can someone recognize a legitimate product or service?

Professionalism comes down to three things: hygiene, materials, and method. A true professional only uses medical-grade dental adhesives (not industrial glue!) and lead-free gems. The procedure must be completely non-invasive, no drilling or filing of the tooth. If there’s no clear explanation of the hygiene protocol, or if the price is too low to cover certified materials, that’s a red flag.

Which gems are your favorite for decorating a smile?

I love Swarovski crystals for their classic sparkle, but lately I’ve been obsessed with 18k gold gems in various shapes: they add a tactile, luxurious touch that I find irresistible.

What advice would you give to someone who wants to start doing your job?

Don’t rush. Study dental anatomy, invest in serious training courses, and practice the technique extensively. Most importantly, find your style. The market is saturated, but there’s always room for those with an original artistic vision who prioritize client health above all else.

“Hi! I’m Ricky Morandin, I’m a make-up artist and I live in Milan” clear, direct and effective. This is how our new episode of Under The Beauty Radar begins, a format dedicated to beauty artists in all its forms, now also landing on Substack. “I mainly work in the fashion industry, so everything related to the creation of lookbooks, advertising campaigns, runway shows and editorials,” he tells us.

“I also sometimes handle make-up for celebrities during events such as the Venice Film Festival.” A well-rounded perspective on beauty, both on the page and in real life, without forgetting the runway dimension. Not that this limits or constrains his creative vision, quite the opposite.

Interview with Ricky Morandin

Describe your aesthetic in 3 words

When it comes to my aesthetic, I think of myself as a whirlwind of confused ideas that constantly blend together, but if I had to choose three words, I’d say: grunge, imperfect, dreamlike. I’m very extroverted but at the same time also quite shy, and I hope this personal side of mine comes through in my work.

Can you tell us how you started your journey and how you found your creative expression?

The way I started was completely сasual: I never attended any make-up schools, but I’ve always been fascinated by the world of art, theatre and circus, where performers often create characters on themselves using costumes and make-up. Having worked in fashion retail for years, I was also always intrigued by the fashion world, especially during Fashion Weeks, where I admired the creative explosions of different artists. Over time, through friendships with people working in the industry, I started doing my first tests and covers, and it was exciting. I’m also a very emotional person, so I admit that at the end of every show, when models return backstage to warm applause, I often get emotional like a child. In recent years, I’ve been receiving a lot of satisfaction, both commercially and editorially, and I’ve started managing make-up teams for runway shows, such as Antonio Marras, whom I’ve been working with for several years now, building a strong and trusting relationship.

Where does your inspiration come from? Is there a specific medium (cinema, music, art or literature) that has particularly influenced your visual universe?

I love constantly mixing different concepts, drawing inspiration from theatre, circus, films or past movements. I’m a huge fan of horror films and, oddly enough, some ideas were born from make-up looks seen in those movies. I love dark atmospheres, but I try to make that melancholy intriguing rather than scary. What do you want to communicate with your looks? I’d like people to feel that, within each project, everyone involved felt free to express themselves while having fun. Fashion can be, in some ways, a harsh world, but it’s also a place where the goal is to create emotion. More broadly, not just in our field, I’d love for people to start experimenting again with bold looks, to rediscover a more authentic identity. I was born between the ’80s and ’90s, surrounded by people with countless looks and identities, all different but all real. Today, unfortunately, there’s a tendency to conform too much, and I do miss that about the past.

What do you want to communicate with your looks?

I’d like anyone looking at my work to feel that, within each project, people felt free to express themselves while having fun. Fashion can be a harsh world in some ways, but it’s also a space where the goal is to create emotion. More broadly, not just in our industry, I wish people would start experimenting again, even with bold or exaggerated looks, to rediscover a more authentic sense of identity. I was born between the ’80s and ’90s, and I grew up surrounded by people with countless looks and identities, all different but all real. Today, unfortunately, there’s a tendency to conform too much, and that’s something I truly miss about the past.

What does it mean to be a key make-up artist for a runway show? How do you manage the creation of looks? Tell us about your work backstage and how it differs from working on set

Being a Key Artist for a show, besides giving me great professional and personal satisfaction, is definitely one of the parts of my job I enjoy the most (even if the pressure of finding the perfect idea can sometimes be overwhelming). Starting from an idea discussed with the designer, we begin to think about what could work. Recently, I bought a tablet with a program that allows me to draw over photos. Once I have a concept, I use a picture of the model’s face as a base and sketch over it to visualize the final result, studying proportions, colors, and so on. It’s important to find a striking idea that is also easy to execute to avoid issues. Backstage, there’s never enough time. That’s why I tend to organize specific teams, creating a sort of assembly-line workflow, where everyone focuses on a precise task. Unlike studio or on-set shoots, where more time is dedicated to one person, runway shows require you to be everything at once: fast but precise, organized but ready for the unexpected. It’s an emotional mix that I truly love, especially when, at the end, you see on the runway what you’ve been imagining for days and nights. On set, what I enjoy most is creating a relaxed atmosphere between myself and the team, stylists, photographers, models, etc. I also always try to arrive early to set up my make-up station and make sure everything is clean and sanitized (which I consider essential in our job) before the shoot begins.

What do you think about make-up trends? Which trend do you love and which do you hate?

When it comes to make-up trends, I tend to stay fairly neutral. I’m always fascinated when a look I created, or one by another artist, becomes an inspiration for someone. At the same time, I’ve always been a bit rebellious, and by choice I avoid following current trends, focusing instead on creating what truly satisfies me, trying in my own way to bring something different.