How it works: Makeup artist Valeria Filippova
| Valeria Filippova has been working as the main makeup artist of M.A.C Russia since 2004. She advises makeup artists in corners.M.A.C, creates makeup for shooting in magazines, develops podium makeup for Russian brand shows (in particular, MAC has been working with designers who show their collections during the week Cycles and Seasons by MasterCard for several seasons in a row) and works as a make-up artist at fashion shows in Paris and Milan |
Valeria FilippovaEducation
I grew up in a make-up artist from an artist. Since childhood, very well sewed and painted, graduated with honors from the Art College. Parents wanted me to become a clothing designer, but I entered the Romance-Germanic philology, the English language, while continuing to draw, paint all the girlfriends, because I did it very well. Then she tried to draw on the body, because it is not a piece of paper, but something voluminous. My sister introduced me to a girl who was engaged in body art, and it so happened that I smoothly joined the team and stayed in this school to work as a body art teacher. And then she went from the body to the face, she took makeup courses.
It was 2001, the profession was not developed, there were very few make-up artists, not like now. There were no such number of schools, there was no place to get information. Gradually, they began to invite me to shoot for different magazines, I was constantly doing some fashion stories in Cosmopolitan. They invited me very often, because every time I tried to give everything to the fullest: not just make up, but come up with something, try a new product. When you give one hundred percent, people understand that it is interesting to work with you. I believe that if a person has an artistic taste, a sense of color, shape, taste in the choice of clothes, then with makeup will be obtained: it's all one.
We are taught everything: how to communicate with journalists, how to behave in front of the camera, how to speak, what words to choose.
I participated in various competitions, did body art, shooting, magazines, shows: everything was interesting for me. Youthful maximalism, I guess. I wanted to try everything. I used, of course, cosmetics M.A.S. At that time, the brand had only two corners: the first one appeared in GUM, then "Spring" opened, I was invited as a make-up artist for the opening. I really liked this brand: constantly new collections, lots of color. As an artist, I needed a large palette of colors, textures, and MAAS in this sense suited me. I didn’t want to work constantly on some brand, I was a free artist. But at some point I found out that there is a vacancy in MAAS, a double position of coach and chief makeup artist, and came in for an interview.
There were a lot of people willing. I had knowledge of English, art education and a fairly rich portfolio. That was what they needed. In addition to the philologist, I am also a teacher, and for a coach this is also very important. I went through the first, second, third interview in London, and they took me. We called the weekend, when I was at my friends' house in the country, they said: "Valeria, come on Monday in black clothes to the office." I almost dropped the phone! The house was simple wooden, there was such a low beam, and when I started jumping for joy, I even bumped my head against it.
Chief makeup artist
In other countries, the main make-up artist, as a rule, grows out of a make-up artist who works in the corner. It turned out differently: I got from a freelancer immediately to the main makeup artists. The main makeup artist is first of all the face of the brand. M.A.C invest a lot in making the makeup artist meet certain brand standards. We are taught everything: how to communicate with journalists, how to behave in front of the camera, to have the right angle, how to say, what words to choose, so that it is not a standard description of makeup, but beautiful, with a story. I answer questions on trends a lot, because I directly participate in fashion weeks, I work with the main makeup artists, I see all this cuisine, and my task, including, is to convey all the beauty editors.
Work with clients and makeup artists
M.A.C has especially important clients. This is not necessarily a rich man or a celebrity, it may be an ordinary girl who buys all the shadows from the new collections, such M.A.C-addicted. I am telling them how everything happens during fashion weeks, opening the curtain for them. Another important duty is to work with our makeup artists. I have 8 years in the brand, I have a lot of experience. At first we had two corners and we worked together with the brand manager, and now we have grown to a huge state.
Filming
First, it is a beauty shoot. From M.A.C always waiting for something stunning. For example, Chanel cannot make blue lips by virtue of its philosophy, I’m taking out a case, and all makeup artists look with envy at the abundance of colors and pigments. Secondly, fashion stories. It's good that at last the people who organize the shooting began to trust me. Earlier, before shooting, they brought me a leaflet from a magazine or photos from the show and said: "Do the same." Now they say: "Look at the story, at the things, at the light, and offer your own." It is very inspiring.
Work with designers
With many designers we have a warm relationship. When we first came out for fashion week, became the official makeup artist of Moscow Fashion Week, I was faced with the fact that designers do not trust us, bring some magazine clippings. I then chose the scheme of Western shows, Western make-up development and transferred this model to Russian designers. At first they didn’t understand how it could be that the make-up artist specially arrives a few days before the show, spends a lot of time with the designer, is interested in philosophy, colors, forms, right up to the music and faces of the models, in order to understand how harmonious all this will look on the podium. With many designers, I am very friendly, some even call and say: "Lera, we are sewing a new collection, come, please see."
Preparing for the show
I preliminarily call up with the designer, we make an appointment for three or four days before the show, depending on his and my employment, on the readiness of the collection and others. I come with a stuffed case, because you never know what the designer wants, what eyelashes, what lips. We communicate and I do the test.
The first test is the most correct, because these are the first impressions and emotions, it is often the most beautiful, the most literate. Then we dress the model in clothes that are key to display, the hairdresser does her hair, and we look at the overall bow. Immediately discusses the color of nails and other details. Then I compose a face chart, that is, a list of products that will be used in the show. This is very important to do, because the shows sometimes go one after another, and I write down what I did, what I mixed with, because in the process you can forget all this and you will get a different color.
With many designers, I am very friendly, some even call and say: "Lera, we are sewing a new collection, come, please see."
Then we calculate the number of makeup artists, depending on the complexity of the makeup and the number of models. If there are 30 models, then it is optimal for make-up artists to be 12. Many people ask why there is so much, but I’m for the quality, for the models not to go out on the runway half-painted, so that everything is clear. There may still be a complicated hairstyle and light make-up, then all the models are sitting on their haircut and again, you need to calculate the time and effort.
A few hours before the show, we come to backstage. Models love us a lot, because we always have towels, clean cosmetics, clean brushes, there is always a sanitizer, there is a well-developed scheme. I make a demo. The designer comes up, says: “Yes, this is what I wanted,” and we go along with him to see how it looks on the runway. Well, when there is an opportunity to see a girl on the podium. You can see the make-up in the real world and think over the options: maybe a little bit brighter, maybe a little bit less make up.
The backstage team is specially trained guys who are selected to work with models. These are privileged make-up artists from the corners, the most talented, who make a good make-up, the most creative, who are ill and burning. Often, I do two or three makeup, because I check every model. Each make-up artist comes with his model - I see if everything is correct, everything is good, because everyone has different facial features, but it is necessary that everyone look the same on the podium. If there is a hodgepodge on the backstage, for example, someone drew up the arrows, someone straight, someone down, then on the podium it is very much visible. In 99% of cases, the makeup on the show should be the same, because it’s still a single story. Then we note in the special list of models who is made, who is not made. Then - the girls are very fond of this moment - I distribute duties: you are the body, you are the powder, you are the lips, you are the legs and so on. Everyone performs his task. I usually stand at the exit to the podium and control that everything is perfect.
Sometimes you do unusual, catwalk makeup that is completely out of tune with what the models are wearing - they are sitting in uggs and wrapped in scarves, and the make-up artists look at me and say: "Well, Lera thought out." But when the models are already on the catwalk, they have haircuts, make-up, huge heels, then everything goes together and the make-up artists say: "God, how beautiful." Very pleased that they are so inspired. This is also our task, because after they are shown, they return to the corners and talk about what makeup was like. And, of course, we never leave when they say: "Finale! Finale!" We have the right to leave only when the last model goes to the podium, because then they return, everyone applauds, champagne appears, the press and friends come. And we carefully collect our cases and leave, as fighters of the invisible front.
Backstage often has to be interviewed about what kind of makeup, what inspiration. It is necessary to explain with fashionable, beautiful and understandable words, why such products, such a texture were chosen.
Western shows
This is a completely different level, and our work is organized a little differently. The designer himself chooses the main make-up artist, and he already selects the team. Suppose Gareth Pugh worked with Alex Box this season, and Alex loves working with M.A.C. Naturally, the make-up artist has his own team, for example, two people, but the show may have 35 models and rather complicated make-up, and here comes the joint work of MAAC and the main makeup artist.
The main makeup artists M.A.C from different countries come to the screenings. This is a very good practice, because each make-up artist then returns to his country with new ideas, ready to be creative, and this makeup infects makeup artists in the corners. For example, when I arrived after Vivienne Westwood, I was overwhelmed by the happiness that Westwood approached me and just asked for an eyebrow pencil. The scheme is about the same as ours on the Russian shows: for our makeup artists it is a great happiness to work with me on the backstage of Chapurin and get some approval.
If the main make-up artist of the show works with the team MAAS, then it provides cosmetics. There may be other products, without which the makeup artist cannot live, but 80% of the production is M.A.S. When the makeup artist goes to the designer for the test, he takes with him one person from the team that will work on the show, with his case. Case is a very important story. There everything is signed and numbered. Then this assistant should go to the store and take so many cosmetics to provide all the make-up artists at the show. Or divided into jars, so that everyone on the desktop had everything from pigment to pencil. I did this work several times, for example, when Gordon Espinet was the key makeup artist and we did a test for Elie Saab. A funny story happened: Elie Saab had a casting, 80% of the girls were Russian, and either there was little time before the show, or something else, but Gordon suddenly says: “Lera is also Russian, with a bone structure of a Russian girl. Maybe try on it? " And I acted as a test model. I had beautiful marsh-colored shadows, crazy burgundy lips, false eyelashes.
I distribute duties: you are the body, you are powder, you are the lips, you are the legs.
The work was responsible: I then had to run, urgently take some kind of shadow, a pencil, and the store was closed almost in 5 minutes. It was in Paris, and there are terrible traffic jams. And the next morning you are already laying out the main makeup artist of the brush, that is, you fully assist.
In Moscow, I have a similar assistant. In general, I like to prepare my case myself. But if tomorrow morning is a test, and tonight is showing, I ask for help, but help is limited to brushing and throwing dirty napkins and tidying up something.
Trips to Western shows are always very interesting. I love to watch how others work, how a make-up artist holds his hand, how he deals something. It is always interesting to communicate with colleagues from M.A.C. For example, if we arrive at the show in advance, an hour before the main make-up artist, then we see what someone has, ask who bought where what. All share emotions: who painted whom, capricious or non-capricious model was.
I will never forget the Emanuel Ungaro show at the very beginning of my career in M.A.C. It was six years ago, I was still green, I did not have such a case as it is now, something was missing, naturally. Sasha Pivovarova sits down with me and starts talking to me in English - at that time there were almost no Russian make-up artists - and I answer her in Russian. She says she doesn’t use this and that, I get her other banks. And the make-up was complicated: black and green shadows with shading almost to the temples, bright kayal on the lower eyelid - very expressive eyes, many-many mascaras, false eyelashes. And Sasha, she's a star, she behaved very relaxed: she read something in Blackberry, she communicated with someone. It is very difficult to do make-up on a person who is constantly on the move, she has a baguette in one hand, a glass of champagne in the other, then she asks me something about Russia. At some point, she pays off at the toilet. It takes 5 minutes, Sasha is not. I went to look for her, found near the bar with champagne, with one painted eye. Talked to her, asked to return, she was very sweet. Then Tom Pesho, the main make-up artist of the show, seeing the whole situation, comes up to us, sits down next to Sasha, and she begins to chat with him. I was so terribly worried: I could not be rude with a model. We had to somehow turn it to her and finish the makeup. All this is a rich life experience, I now know how to behave with top models, I do not panic and do not hesitate.
Cigarettes, candy and scotch
At the shows you have to think not only about make-up - I have to have a variety of things in my case. Often capricious models say: no, do not smear me with this - and you, as a wizard, have to get something and say: "And this?" Always with a bubble gum, cigarettes, candy, paper tape: it's just perfect for removing glitter without damaging the skin. There is soap and special products that clean eyebrows, petroleum jelly, eye drops. Many options for moisturizing the body: the cream should not be sticky, because it is not known what will be the dress. There are 2-3 make-up remover options. Tiny, very thin cotton swabs for jewelry to adjust the arrows or something else. They all bring affection, sold only in Paris, and they still have to chase. Refreshing thermal water. If you have all this, then you respect the model with which you work, take care of it.
In models, especially in the top, when they do show after show, the skin becomes the thinnest. You wash off make-up and think: this girl is 14-15 years old, and her skin just screams: "Help!" And here it is very important not to be rude, to offer a cream that moisturizes well, to make a compliment so that the person feels affection for you. You give them a massage or drip in the eyes, and they understand that you can breathe out: here you are loved and cherished, everything is fine here. Top models know perfectly well that they use key makeup artists, and I sometimes photograph the tables of such makeup artists in order to stock up on some products. And when the model sees that you have everything correctly assembled, then no questions arise.
Often capricious models say: no, do not smear me with this - and you, as a wizard, have to get something and say: "And this?"
Before you learn all the nuances, you fill a lot of bumps. When I started, the main make-up artist asked me for a puff (Powder Applicator. - Ed.) For the body, but I did not have it. I was told that since I do not have a puff, I do not work on the back. I'm not talking about the ability to draw, the sense of color, harmony, the ability to mix colors, great experience with the ingredients: you need to know what you can mix with. In schools, this is not particularly taught, learn it through trial and error. It is very important to make your own case, I even ask for a whole day-off, I like to distribute everything by color. You need to be very organized, think over everything, even clothes: suddenly you put on some kind of uncomfortable dress, and you need to stand on all fours and wet your feet.
I know makeup artists who left MAAS for freelancing and work independently or as assistants of famous makeup artists. With an assistant, you can rise higher, they are starting to recognize you, but it is very difficult. Being an assistant means being a second head and knowing what a person wants. Если он делает макияж, а ты уже держишь нужный продукт или правильную кисточку, это высокий уровень профессионализма. Это постоянная полная отдача. На бэкстейдже ты всё время в напряжении, ты не можешь почитать книжку или включить плеер и послушать музыку, потому что в любой момент ты можешь быть нужен. Ты каждый раз возвращаешься в гостиницу, как выжатый лимон. Но вообще бэкстейджи, красивые модели, вешалки с одеждой - это определённый fun. Играет музыка, суета, работают фены. Это серьёзная работа, но и большое удовольствие.Often the hairdresser and the main makeup artist work together for a long time, they travel in a large group, like a family, and being part of this family is very healthy.