How did you come to work on The Gilded Age?
I have done a lot of period projects over the last decade, and the producers of The Gilded Age looked into the team who did The Knick, a medical drama taking place in NY in 1900 I designed a few years back. We all clicked, and I am still here filming season three.
What sort of research and prep did you do for project?
When working on a project, research and character study have always been one of my favorite tasks. I gather inspiration from portrait paintings and photographs of that time. But my favorite method is to visit museums to study the old masters and get inspired by their color palettes and the moody light in their artwork. Spending time in the costume department is also crucial to understanding the color and textures, so we can complement each other.
In terms of makeup, what is the most important detail in getting the look of the era right?
After all the research is done, I often host portrait painting sessions for my core team, on the periods that are documented mainly through paintings rather than photos. This helps to immerse ourselves in the era and evoke its style. Studying their faces is imperative as to what kind of makeup, if any, they used, in addition to the color palette. Each era has its own beauty and style standards, so we aim to recreate that look using hues of color, gentle highlights and shadows, avoiding modern techniques like contouring, sharp eyebrows, and prominent lip or eyeliners, and keeping in mind that our current tools weren’t available at that time. You have to be more of a painter than a sculptor to achieve the aesthetic of the period. This is so important as it could make the makeup not only look contemporary but make it look like makeup. We want our actors to look like paintings.
How was makeup used to distinguish the differences between social classes?
At that particular time, the more intricate and groomed, the richer you were, as upkeep would require a maid to help you groom, as well as running hot water and a bathroom to keep it all clean and fresh. Different styles of appearances, from respectable to rich, flamboyant or poor for example, were represented in hair, makeup as well as wardrobe. That’s why hair and makeup are such an important part of creating these characters, who tell the story, and show their social and political background. We are keeping the old money characters classy but intricate and the new money modern, a bit more extravagant, and pushing the respectable limits of that time, while the working class is plain, natural, and sometimes distressed.
What was the most challenging about designing the makeup for The Gilded Age?
To make makeup not look like it’s makeup on the ladies, to make it look natural and corrective and yet invisible though flattering. We have hundreds of facial hair pieces for our male cast and background actors. Facial hair was very popular at that time in lots of sizes and shapes. That in itself was a huge task as facial hair can easily look fake or campy.
From the lavish costume and sets to period hair and makeup, the overall look of each character plays an important role in it all coming to life. How do you work with the other departments during your design process?
We all work very closely. Especially hair, makeup, wardrobe, and production design, because the color reflection from the wardrobe or the set can drastically change the appearance of skin tones. And of course, the collaboration and consulting with the DP and the lighting is crucial. As hair and makeup in the hierarchy of film departments is still under costume, production design, and cinematography we depend on them as they can undo all the work we work so hard for. When filming, I always hang in the DIT tent so I can see how everything is going to look on screen and adjust if needed or ask the DP for help.
What were your key products on set for the Gilded Age?
I wanted to recreate textures and colors that were available at the time. I tried to go mostly clean. Some of the must-have products we used were lipsticks by Lisa Eldridge which I am obsessed with; Suqqui eyebrow pens; Ilia Super Serum skin tints, concealers, cream tints and mascara; Bella Donna pressed foundation powders; MAC Blush Me Please and Raisin blushes have been a favorite; MAC blot powders; Colorescience corrector palette, and we love MAC Studio Fix which we find works lovely on mature skin. As for skincare we all have in our stations: Le Mieux Skincare, In Fiore Calendula Oil; Augustinus Bader Rich Cream and Hand Cream; Costa Brazil Hydration Trio. For the men, I have been replacingusing Aleph Beauty concealer/foundations; for sunblock we are using Eminence powder sticks and Supergoop Unseen as a primer and their spray as setting spray.
What do you enjoy most about working on the project? To create the makeup for such a rich period drama is a dream for any hair, makeup and costume designer. I am so grateful to our incredible hair and makeup team. I adore the amazing cast who are mostly Broadway actors and are also the most amazing singers — too bad there is no singing in The Gilded Age. I love our tight-knit film crew. I feel so honored that I was entrusted to recreate such an aesthetically rich and beautiful time period, and I am proud of all the positive feedback we are getting on our work. And as nobody can do it alone, it truly takes a village, and I am so blessed to have the most amazing village.
Words Shannon Levy
Photos Courtesy of MAX