The story jumps forty years between two scenes, and both are shot on the same day. In the morning the actor is twenty-five, by the afternoon he is sixty-five with thinning grey hair, liver spots and a scar from a fight that happened in between. The make-up and hair designer planned every step of that change weeks ago. They are the person responsible for how faces and hair look throughout a production.

What a make-up and hair designer does

The designer works for the director and the producer and starts in pre-production. They break down the script per character and scene, research the period, and design each look. Tests are done on camera with the director of photography, because lights and lenses change how skin and hair read on screen. Looks are agreed with the costume designer so that clothes, hair and make-up belong together.

During the shoot they lead a team of make-up artists and hairstylists who work in the make-up trailer from early morning, and stand by on set for touch-ups between takes. They keep photos and notes for continuity. When the story needs wounds, ageing or creatures, they work with prosthetics specialists, and sometimes with the VFX supervisor when part of the effect is finished digitally.

Responsibilities

  • Break down the script into looks per character and scene
  • Design make-up and hair for the cast, including wigs and facial hair
  • Run camera tests and get approval from the director
  • Hire and lead make-up artists and hairstylists
  • Plan the make-up schedule with the second assistant director, so each actor is ready on time
  • Keep continuity records for every look
  • Arrange prosthetics, blood and special make-up with specialists
  • Manage the department budget for products, wigs, prosthetics and crew

How the role touches the budget

The designer manages a department budget for products, wigs, prosthetics and the team's hours. Wigs and prosthetic pieces can be expensive and take weeks to make, so they are decided early. Make-up time also affects the schedule, which affects the whole budget. An actor who needs three hours in the chair has to be called early, and a complex look on a crowd scene means extra artists for the day.

How people become make-up and hair designers

Most train in make-up, hairdressing or both, and then work as trainees and make-up artists on productions for years before leading a department. Some specialise in prosthetics or period hair along the way. Experience in theatre, television and fashion work is common.

Titles across the industry

In the UK the title is usually make-up and hair designer or hair and make-up designer. In the US the work is often split between a make-up department head and a hair department head. On commercials and smaller TV shows one make-up artist may do both hair and make-up without a separate design role.