Alex Box is a make-up artist and creative director of Illamasqua beauty brand. She has contributed to Vogue, i-D and Dazed & Confused, and a book about her work, The Makeup Artist, was shot by Rankin. She talks to Martha Alexander about her unconventional vision...
Did you always want to be a make-up artist?
No. I studied at Chelsea College of Art, doing a BA in Fine Art. My work was about using the body to float my ideas. People saw it as make-up but I hadn’t seen it like that at all. All the principles of life drawing apply to make-up – light reflecting and shadow retracting.
What made you change career?
I needed to fund my art after my degree – so I worked in The Body Shop, doing people’s make-up on Saturdays. My manager moved to Shu Uemura and she asked me to work there too.
I had some lucky breaks, like working with Dazed & Confused on early projects. I started working with [Vogue’s Fashion Director] Lucinda Chambers and by then people began to understand that I wasn’t just a freaky artist and I had the full spectrum, including gentle femininity.
You have a very distinct style – how did that come about?
Organically. It’s impossible to contrive something and keep it going. People ask me to explain such outrageous work but it’s not unusual to me, because it’s like my own handwriting. My work is very emotionally driven, aided by music, paintings, fairytales and folklore. It’s manifesting monsters and angels. The model’s face guides me and I feel spiritually connected to people I put make-up on.
Would you recommend being an assistant?
Being an assistant, you see things warts and all. You get experience without too much responsibility. Fashion is really old-fashioned. People will trust the assistant of someone they “like” more. I wasn’t an assistant and my trajectory is a one-off. I don’t follow fashion. I don’t have fashiony friends so it took me longer.
How does work for shows and editorial work differ?
It’s always about sharing and interpreting visions, but with editorial you have more freedom and talk time. It’s a slower process.
With shows it’s more high-pressure. The designer has a clear idea of what the model will look like. This is their moment and I am there to fulfill their vision. I not going to argue if it’s super specific – it’s not about me, it’s about what’s best for the collection.
Do you only use Illamasqua products?
The majority of my make-up is Illamasqua but I’d be useless if it was all I used; I have Laura Mercier stuff, Chanel Brightening Powder and Mac pigments as well as crayons and face paints from the market. My preference is Illamasqua because I created it to my taste.
Do you have any sage advice for make-up artists at the start if their careers?
Don’t get pigeonholed – it’s a death knell for your career, because you have to be versatile. You might think it’s all about showing everything you have in your bag of tricks but quieter messages are just as powerful. A lot of people can’t do both. I can straddle both Vogue Italia and Dazed because it’s important to fulfill the brief, whatever it is. You shouldn’t find commercial stuff boring; you can still make your mark. To be able to tell work is by me, which people do say, is a massive compliment and shows I never lose faith in my original vision.
Don’t collapse under the pressure of what other people want. It’s hard to get back on the horse afterwards, so really put your feet in the stirrups, fling your arms round its neck and stay on. This is a stayers race.
Visit the Illamasqua website and follow Alex on Twitter.
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