I’ve been fascinated by the world of makeup and transformations since I was twelve. I grew up captivated by creatures in shows like Doctor Who and Star Trek and the concept that these were played by regular people, yet appeared so vastly different. The intent and impact behind each creature and its design were what drew me further towards the makeup industry.
I included my love of makeup within my academics wherever possible throughout school, exploring binary opposition and the expectations of women through fine art that only magnified my love for the craft. From immersing myself in makeup applications in film, theatre and editorial work, I knew I needed to follow this creative drive and joined Arts University Bournemouth for the BA (Hons) Makeup for Media and Performance course (now Makeup, Hair and Prosthetics) in 2023.
Throughout my three years on the course, I have worked on numerous projects I feel proud of, and that encompass me as an artist. From a traditional Norse Viking project fit for TV and film featuring a bespoke mohawk headdress and three Bondo prosthetic pieces, to finishing with my major project including a half hairpiece, integrated Worbla Skullcap and 3D-printed horns and seven pre-painted prosthetic pieces – each project allowed me to grow creatively and constantly refine my techniques and innovation as an artist.
During the summer after my second year at university in 2025, I worked at the Dorset Opera Festival as a Wigs, Hair and Makeup Assistant. This was an incredible job experience on a large-scale production, with opera singers flying in from across the globe for three productions: Suor Angelica, Rigoletto and Cavelleria Rusticana. I worked with two other graduates from Arts University Bournemouth and spent weeks on site, from tech and dress rehearsals to the performances for audiences. This year included over thirteen wigs, a bald cap application which I led for every performance, and chorus hairstyles as well.
Since my first season, I’ve returned to Dorset Opera Festival this summer of 2026 for L’Elisir D’Amore and Samson et Dalila. L’Elisir D’Amore, directed by Andy Morton, was a Victorian piece of theatre, featuring the love story between Nemorino and Adina. Every night, I was in charge of hair and makeup for Jay Broadhurst playing Nemorino, alongside a quick-change application and removal of beestings for Gianetta, played by Daisy Lapworth. I also ensured all 60 chorus members had period-accurate hairstyles and hats were secured for movement.
Samson et Dalila, directed by Paul Carr, featured a wig I set and styled for Dalila played by May Heydorn, with elements of both boho and Greek aesthetics for a goddess-inspired appearance. This wig had flowers added to the half-up, half-down with twists for the first act, and was then changed to a large headdress pinned into the natural hair using crin (Crinoline). This show also featured my quickest change to date, where Samson loses his hair and therefore his magical power; there was a 40-second wig change on side of the stage. Between the three of us in the WHAM department, we removed the glue and wig, replacing and re-pinning in the new plaited wig for a dramatic reveal – truly such an incredible moment to experience and witness the audience's reaction night after night.
In the summer after my second year at university, I had the incredible opportunity to work at London Fashion Week Spring/Summer 2026. Through working multiple shows, I had my work featured in online publications from Elle and covers with Malvie Magazine, with a true highlight having my work printed in Harpers Bazaar March 2026 edition. One of the companies I had the opportunity to work with was Oxford Fashion Studio, which had upwards of 27 shows all in one day, with applications starting at 9am and finishing at 9pm. Since my first London Fashion Week for the 2026 season, I’ve returned to work with them for the 2027 season that’s just closed.
This year was a true highlight for me as an artist, completing over 13 makeup applications, being entrusted with fine line body painting, and having more features of my work in magazines; it is such a rewarding feeling. From applying an entire design in 45 minutes to nine minutes, it’s truly a space to practice and refine your craft and push your capabilities. Working with brands like Gillian Trask Jewellery, with individual characters and makeup designs to align with their designs and garments, I had the opportunity to bring The Rebel to life on singer AJ Grey and apply final touch-ups before they walked the runway. I also had the pleasure of attending a private closing event for Oxford Fashion Studio, celebrating with the entire Makeup Team and looking forward to another successful season.
My time at Arts University Bournemouth allowed me the confidence to get myself in the rooms for these jobs and continues to push forward my job post-graduation. The fundamental skills I learnt and timed practices I trained in from first year until third year allowed my skills to stand out when working in the industry. Whilst I spent three years studying makeup at Arts University Bournemouth, I also spent those three years working externally in the industry, and this was possible through the support of my tutors. They encouraged and supported me throughout the start of my career, which has helped me with employment post-graduation. It was an incredible three years honing my craft, and I cannot wait to continue further in my career.
