How To Make Art With Makeup

Creativity makes everything better and more fun and nobody tin better evidence this fact than Jazmin Calcarami, makeup artist and stylist. She has been the official makeup artist for Maybelline NY Argentina since 2013. She has worked for Vogue, Harper's Boutique and Catalogue, among others. Calcarami has worked alongside renowned photographers, designers and brands. She has steered her interest all through the art of makeup, showing originality through the pursuit of dazzler with a modernistic fashion, immature and full of color.

fashion editorial Jazmin Calcarami — Fashion Editorial Make up Jazmin Calcarami @jazmincalcaramiagency on Instagram
Luciana Val y Franco Musso

PP. How did you get into makeup?

JC. The truth is that it started in a very coincidental manner. I used to decorate my eyebrows with pinpoints of glitter, but not apply makeup. My mother has produced mode since I was ten and I always went with her to work; I was fascinated talking to makeup artists and looking at their suitcases full of colors. A makeup artist who worked with my mother invited me to take classes on Saturdays. At that time I was in the fourth year of high school with a background in ceramics and drawing. I was sixteen years old.

Before long I began to practice makeup in Bond Street Gallery Shows—a minor shopping place located in the neighborhood of Recoleta in Buenos Aires. At that time the gallery was a meeting place for alternative and under designers. I call back doing makeup for twenty people for a parade, amid which, I also found myself.

Then the side by side year I started studying characterization and that is where I saw the creative diversity that makeup could have, which lead me to be more than interested and relate everything that had already been developed— the plastic parts in school and what I learned from my father who was an artist.

PP. Your preparation is very wide, from art and mode pattern to styling. Tell us how y'all discovered makeup as an fine art form?

JC. Since I was very small, I grew up surrounded past fashion and art from both my stylist mother and my creative person male parent. This, I believe, made me naturally relate everything to the visual and creative. On the one hand, at historic period 13, I decided to accept art school courses, then as well finishing loftier schoolhouse I likewise got artistic feel in something I liked.

Then at historic period sixteen, I began casually experimenting with makeup, kind of without interest. I kept studying makeup and I realized that it'due south something that goes beyond the social corrective. Suddenly I could pair make upwards with anything and I started to chronicle it to paint, and so some FX and besides the ceramic arts I was learning in school. Too my interests, until today, are very different. Something I have always liked is clothing. Since a very immature age I had something very stiff in the inventiveness of the wearing apparel I wore; what fabricated it was garage sales and unique pieces. I could call up of many items I wanted to use and could not observe, so, I began to cut and change clothing of mine. I also loved the headdresses and began studying wigs, hairpieces and headdresses at the Higher Institute of Art (ISA) of the Colón Theatre, where I was going to do workshops and learned to use a sewing auto. I liked the idea of creating characters and felt that everything I was learning was connected and full of potential.

Following my beloved of wearing apparel, I studied a little design with Delia Cancela - an important Argentine artist and designer. She'due south a friend of my father and my mother, and like an aunt to me. I experience very identified with her love for art and style and how she has washed both simultaneously.

In parallel with these studies I kept doing makeup and 1 day a photographer asked me if I dared to make the styling campaign clothing make where I had to dress more than seventy models. I was twenty-1 and I said "yes" instantly! From there I began styling, and it really was something that came naturally to me, I think from everything that I learned from my female parent.

For several years I kept doing many things in parallel, until one day one profession beat out the other and I stayed focused on makeup. From this approach arose the makeup artist and hairstylist agency, JC Agency, old afterwards.

In my life I apply inventiveness in other forms of media, such equally photography, embroidery and now ceramics once again.

PP. Where do you look for inspiration for your piece of work?

JC. The truth is that I do not seek inspiration. I know there are things that inspire me, dazzle me or motility me more than than others. I have something very strong with all ancient cultures, and tribes of the globe in general. Nature never ceases to haunt me. The colors and shapes that exist are pure harmony. Then of course a lot of style and art from the nowadays and the past inspire me. These are starting points for my students and almost all beginning working with these triggers, from ethnic groups who began the tradition of makeup, to decades with their respective artistic and musical movements similar Glam with the iconic David Bowie. I besides requite them exercises where they tin can bring in their ain inspiration—perhaps some are more interested in the give-and-take and know that makeup can also arise from a word.

2014 JC Agency campaign . Jazmin Calcarami. — 2014 JC Agency campaign . Make up and bodypainting Jazmin Calcarami. @jazmincalcaramiagency on Instagram
Val y Franco Musso

PP. Amongst your works are different styles, from commercial piece of work and trendy makeup to others with a more innovative and free look that can be placed as an creative expression. Is your approach different for each of these projects and the structure of the thought?

JC. Today they are increasingly close since both styles can exist practical for commercial purposes. For instance, a trunk completely covered in glitter that I once did more for my own projects, is now something that brands call me asking me to do for them.

There is also something that has been happening since a couple of years ago. What I had been doing for pleasure became stylish—art has infiltrated mode. Two years ago Prada took an artist as inspiration for their collection; even the stages of the shows were filled with behemothic paintings or works of artists, and that was growing every day. Fashion shows and editorials were increasingly using painterly gestures in the makeup or unconventional materials in hairstyles. I think that this fusion that I was given by my dwelling where I grew up, is now something that is very strong in style.

Returning to your question, making a more "classic" makeup look a picayune more than modernistic is just seeing where each is best applied. Knowing how to choose to practice what where and in what context, is what, in my opinion, makes you a good makeup artist. We have to know what we bring to the final composition and have it add to and bring together the rest. The makeup is not isolated from the pilus, the face of the model, the lights the photographer usse, fashion of vesture and where information technology is used. All those things influence and are the triggers that you lot contextualize when you create and build an idea.

PP. What is the procedure of creating each epitome / grapheme?

JC. That depends a lot on the work / project, just the reality is that makeup is something that cannot premeditate much. Although many times you exchange thoughts and references by e-mail, the work is washed very spontaneously and that is something I similar very much, because it requires a lot of creativity. When one doesn't move in creativity what unremarkably happens is that it ever falls on the rubber side, without hazard, and I think that's what stops the artist from evolving.

There is also something about being incorrect, in that while doing so frequently ruins the face of the person, it'south also the new and 18-carat most frequently appears. Gesture without control is one of the most difficult things to ask of a makeup artist because we are constantly seeking perfection, neatness and symmetry. Something too interesting is that nosotros paint on pare. Someone who moves, breathes, and has things happen to them, is very different from a static flick that you lot tin have sitting there for months , grab it, leave it and accept it upwards again. Makeup happens hither and now; yous tin not erase a lot and fourth dimension is express. At that place is also a link betwixt the model and the makeup creative person; you lot need it and then that everything goes well and then that you tin exist comfortable with each other.

Some other wonderful thing for me in the art of doing makeup, is that it is extremely short-lived. You can spend hours doing makeup and mayhap the photograph or show lasts a few minutes and if there is no photographic record, information technology is equally if it had never existed. Y'all work with constantly non-zipper.

PP. You've worked for publications and photographers from both the Argentine republic and abroad. Are at that place different demands or challenges?

JC. The truth is that I find them very similar, except peradventure perhaps that foreigners are all a bit more organized and work with more than structure, just the remainder is the same. With respect to challenges, I practise not feel that working with foreigners involves more than working with national projects. The fashion I piece of work is always the same. Maybe something that I could highlight regarding the international is having the feel of doing makeup for and knowing Bjork when she came to Argentina. The nicest thing was to run across how one can exist connected, not simply creatively but humanly, with someone who was built-in on the other side of the world and who yous've admired forever, and suddenly you find yourself and them flowing in sync. Besides beingness free to suggest ideas and accept the other, non simply trust y'all fully, merely like your work and the proposals I made... those were magical weeks for me.

PP: In your task, you work from dazzler. What does dazzler mean to you and how practise you interpret it in practice?

JC. Past working within the fashion manufacture, beauty and aesthetic is something that is always present and I retrieve it is and then ingrained in me that even at times I tin can hardly practice something that is considered "ugly". Also, everything is very subjective. "Platonic" dazzler equally certain proportions of the face, optics and lips, is not something that must be e'er applied. In fact, breaking these rules in makeup sometimes leads to other types of aesthetics. It happens a lot in fashion—at that place it is allowed, whereas in the social makeup globe, you always work from the corrective and cute.

STAR WARS production by Jazmín Calcarami — Rosen Chile production. Make up Jazmín Calcarami. @jazmincalcaramiagency on Instagram
Raul de Chapeau

PP. Since 2013 you have been an artist of Maybelline NY Argentina. What did information technology mean for you to exist part of the group Maybelline NY Argentina?

JC. When the Maybelline NY proposal came for me, it was a large leap in my career. To work with a company with many years of feel in the history of makeup is an laurels. Also having new experiences and making filmed tutorials, tips and notes on creating beauty, I've also worked on a fashion web log and coordinated parades. I think something that was a challenge to me is all the parts of exhibition that brought me to be a brand spokeswoman: filming video tutorials, learning texts to speak, cameras, etc. I think those were great challenges related to my career.

PP. What, so far, is the piece of work you nigh enjoy and feel that is the about representative of your piece of work as an artist? Why?

JC. The nigh wonderful experience is definitely having worked with Bjork. I also enjoy the traveling I do for work; that'south a wonderful thing. Another affair that is super rewarding is to teach and see how the mere fact of learning to do makeup can alter someone's life. I have seen full transformations in my students from all corners of their life and of course one learns from that as well.

PP. Currently you direct the agency makeup artists and requite courses, amongst other things. What plans practice y'all have for the hereafter?

JC. I programme to go on with the Bureau makeup artists, hairstylists and nails creative person that every 24-hour interval grows stronger. They are a wonderful team of super-talented people. With the school, my idea is to have more courses and workshops not only on makeup and hair, but 0n all kinds of other disciplines that relate. My idea for this year is to bring both projects outside of Buenos Aires and outside the country.