“As a painter and an artist that has been inspired by how beauty is perceived globally, it is very important for me to create a universal brand.”
Welcome to Artist Spotlight #49 series on my blog.
Mohammed Hindash is an artist born and raised in Dubai, United Arab Emirates. Hindash studied and graduated with a degree in Studio Art, and later gained his exposure internationally for being one of the leading pioneers in makeup artistry and photography. Hindash began as a painter and YouTuber reaching over 68 Million views with 1.7 million subscribers. Crowned as one of the hottest makeup artists in the industry, the beauty mogul encapsulates the entirety of his artistic journey. Transitioning from portrait paintings to makeup and photography – and now into his own brand, his most intricate masterpiece.
Timeless. Authentic. Innovative. The brand’s drive stems from creating complex cosmetic masterpieces inspired by the true foundation of art.
“Art and beauty has always been an extension of me, so when I started experimenting with photography I knew I wanted to give into the world of cosmetics through make up artistry. It felt like a seamless, natural transition from being a painter.”
The creation of such an innovative product for the beauty industry should not come as a surprise, then.
The 6-pan gradient color story is inspired by a painter’s palette, deconstructed, and reassembled in a sleek, contemporary multi-use product. Beautopsy is made of a vegan formula which blends 12 fundamental colors that flatter and enhance all skin tones. Use as eyeshadow, eyeliner, contour, highlight, blush, and bronzer – the gradient colors offer a limitless color way pay-off.
Beautopsy is a multi-use pressed pigment palette that can be used on the eyes and face. Create the ultimate look by swirling your brush along the gradient pans to customize your perfect shade. Sweep along eyes, cheeks, brows, highlights and contours of the face. You are the artist of your masterpiece.
TAN + LINES – a soft tan brown that blends into a pure white
WET + PAINT – a beige that blends into a banana yellow
BOY + WONDER – a peach that blends into a bubblegum pink
FEEL + REAL – a neutral brown that blends into a true concrete gray
LOVE + KILLS – a fiery orange that blends into a hot red
INTRA + FATUM – a chocolate brown that blends into a pitch black
Makeup artist Raoúl Alejandre is a strong believer in holistic beauty—that is, going beyond the fantasy and what you see on the surface to unlock something much deeper. “Like most of us, I want beauty to continue to broaden up,” he tells Vogue.“Not just by including visual representation of those often marginalized, people like myself, people that don’t fit the set of beauty norms we were once fed to believe in, but also incorporating values, important ones, like mindfulness.”
Welcome to Artist Spotlight #48 series on my blog.
For Alejandre, a California native who is currently based in Los Angeles, the question of when he got his “start” in makeup doesn’t quite apply. “I’ve practiced painting my whole life and makeup was just one of those other mediums I picked up as a kid because I wanted to express myself,” he says. “I would rummage through my mom’s stuff, and when I got to a certain age, I would sort of steal her old makeup and hide it in my sock drawer so that I could play with it on myself.”
Through his journey, the artist has developed a signature look that is fiercely elegant. His carefully painted eyes—a soft mashup of baby blue and moss green, a glossy, plum lid—and a pronounced lip, often nude or red, are undisputedly glamorous but don’t scream it. From actors like Alexa Demie and Ryan Destiny to musicians including Rosalía, SZA, and Lil Nas X, everyone Alejandre touches is left with a look of assured confidence that easily captures attention.
His inspirations come from legends in their respective fields (Salvador Dalí, Richard Avedon, Federico Fellini, and Siouxsie Sioux), life experiences like moving to New York City for a few years—“It’s where I broke all my rules and really got to know myself,” he says—and interior design.
“I could have a meeting with someone or be at dinner with a friend and I’ll look at the ambiance around us; I’ll look at the colors of the food in front of me, how they touch, the textures of the chair, the window treatments, and the lighting fixtures, because they all play such an important role in the final picture,” he explains.
It’s this attention to detail that has led to creative partnerships with MAC, Dior Beauty, and Revlon, along with a rolling list of celebrity clientele and publications. For Dazed, Alejandre created a series of makeup looks that were applied solely through Photoshop, proving once more that the digital space is the next frontier for beauty. “Growing up, I had one uncle that was super tech-savvy and he just threw me in at such a young age, teaching me how to create digital designs on Photoshop. On top of that, I was really into *The Sims*—I love how surreal they look, the language, the fashion, and all of the weird gestures that they make.”
As Alejandre continues to push the conventional limits of beauty and design, he’s mindful to release himself from the labels and expectations that can develop as an artist establishes themself in this industry.
“We grew up being conditioned to believe you have to be either this or that, you have to do this or that, but, no, I want to pick everything. I want to express myself and I want to use makeup as a medium to tap into every other medium. I don’t want to be limited in my lifetime. I want to feel free forever, honestly.”
At a time when mask-wearing is de rigueur, it’s no surprise that, where makeup is concerned, our attention has turned to enhancing the eyes. The distracting, spirit-lifting power of exploring new looks should not be underestimated, and from lashes to lids, and even temples, options abound.
Val Garland, makeup artist and Vogue contributing beauty editor, agrees. “Now the eye area has become our focus, it’s all about liner, lashes and brows,” she says, before singling out the graphic look of the 1960s. “Get your flick on, but switch the black and brown for navy or rich forest-green. Perfect your brows and flutter your lashes with mega volume – the strong nature of this makeup is what makes it so appealing.”
The Vogue archive holds a wealth of inspiration for looks to emulate, so here, for your delectation, is an illustrated retrospective highlighting creative expression through makeup. Look to those graphic ’60s looks, the abandon of the 1970s, the freewheeling freedom of the 1980s or the makeup magic of the modern day. This is your ultimate moodboard – and it’s a place where imagination knows no limits.
Singular Stroke
Carl “Eric” Erickson, 1935
One of the earlier illustrative examples of eye makeup in Vogue, this now iconic image serves as a reminder to never forget the drama of a single sweep of colour.
Angelic Eyes
Barry Lategan, 1974
Legendary makeup artist Barbara Daly created this heavenly look, applying frosted blue “halos” around the eyes to ethereal effect.
Model Celia Hammond looks out of this world thanks to makeup artist Pablo Manzoni. When an image is simultaneously nostalgic and futuristic, the results are timeless.
Get the look: useYSL Beauty Sequin Crush Eyeshadowin Empowered Silver, £27, to create silver moons on the eyelids, then frame with full-on lashes for a 1960s throwback.
Colour Play
Tyen, 1990
Photographer and makeup design director Tyen is a master of colour. This 31-year-old kaleidoscopic approach still fires up the imagination.
Marsha Hunt looks on the bright side, courtesy of makeup artist Sammy Lopez.
Get the look: try multicoloured arcs of eyeliner using different shades from Dior Diorshow On Stage Liner collection, £27.50 each, for a modern-day interpretation.
Life Imitating Art
John Swannell, 1980
Follow Barbara Daly’s illustrative approach with swooshes and sweeps of differing tones around the eyes.
Get the look: go for the most vivid colour combinations that you dare. Consider the painterly shades inLancôme’s La Rose Eyeshadow Palette, £45, for inspiration.
Striking Eyes
David Bailey, 1966
This iconic cover image of Donyale Luna – the first Black model to appear on the cover of British Vogue – called for the powerful statement of dramatic eyeliner.
Get the look: traceEstée Lauder Little Black Liner, £24, along the lash line, and be sure to elongate the shape for that super-sleek effect.
The Pat Effect
Steven Meisel, 2017
Influenced by the makeup of the 1970s, Pat McGrath, Vogue’s beauty editor-at-large, created this shimmering aquatic moment on model Adwoa Aboah for Edward Enninful’s inaugural edition as editor-in-chief.
Grace Coddington, now a British Vogue contributing fashion editor, stars as the muse for this portrait, which sees maxi lashes and exaggerated winged liner take centre stage (with hair by Christopher at Vidal Sassoon).
Get the look: layer up an excess ofGucci Mascara L’Obscur, £40, on both top and bottom lashes, tracing in extra lashes on the lower line for added drama.
Beady Eyes
Norman Parkinson, 1965
Why not look to sequins and pearls to accessorise the lower lash line, like model Marika Green? Appliqué accents instantly prettify any makeup.
Canadian-born London-based makeup artist Michael Brooks, also known as The Brooks Brother, made his YouTube debut in 2017 and has since then been inspiring his followers with his mesmerizing, artistic beauty looks. Having landed his role as Smashbox Cosmetics UK’s pro MUA earlier this year, Brooks has been paving the way for queer creatives by advocating for better representation and diversity within the beauty industry.
At a young age, Brooks already had an eye for glamor and beauty. The moment he saw his favorite alternative, pop punk boy bands wear makeup was when he decided to experiment with his own looks and explore his talent. With additional interests in music, art, digital content creation and fashion, the multi-disciplinary creative is changing the game and is definitely a talent to watch.
Welcome to Artist Spotlight #25 series on my blog.
Can you tell us a little bit about your background and how your passion for makeup started?
I grew up in Canada, in a suburb just east of Toronto. I’ve always had an interest in the arts and I studied various areas of visual and performing arts throughout my entire childhood, but I’ve always been fixated on glamor and beauty. At around 12 or 13 years old, I began to take notice of men I saw wearing makeup in my favorite alternative/pop punk boy bands and I wanted to try it myself. Around that same time, I was involved in some performing arts extra-curricular activities, so the idea of wearing makeup on stage didn’t seem odd to me. I’m very fortunate to have grown up in a home that prioritized my happiness, self-expression and safety above all. As I got older, I moved farther away from my music, dance and theater studies and grew an attachment to wearing makeup and providing it as a service to others. After high school, I decided to take a certificate course in makeup artistry. I’ve been doing it professionally since.
How did the opportunity to work with Smashbox Cosmetics UK come to be?
I’ve been working on and off in retail makeup for the better part of my career, and a lot of that has been within the Estée Lauder group of beauty brands. Most recently, I started with Smashbox in their studio space in March of 2020. I had worked on a few freelance campaigns in their studio for another cosmetics brand in 2019 and happened to meet the manager of the space. When they had a position become available, I was put forward and was looking for a change, so I went for it. As you can imagine, with all the changes our world has seen this year, it hasn’t been at all what I expected. Starting a new position with a new brand in the midst of a global pandemic certainly has impacted the process.
“The online social community is a real place for inspiration and discovery, which keeps me going through this challenging time.”
You started making YouTube videos before moving to London. What would you say are the biggest differences between Canada and the UK’s creative industry?
The sheer size of the creative industry in the UK is the biggest difference I’ve noticed. In London, there’s always room for someone to break in, as long as you’re willing to work for free, network until you’re blue in the face and never give up. I feel like my attempts to break into the creative industry in Toronto barely scratched the surface because it’s much smaller. Bigger cities tend to have more opportunities, as long as you’re willing to take them on.
Who are some of your queer beauty icons?
Being totally honest here – there aren’t enough queer beauty icons, especially men. I’ve always admired RuPaul Charles and what he’s done with his career, as well as NikkieTutorials, Kevyn Aucoin, Indya Moore, Kabuki and Munroe Bergdorf.
What are some challenges you’ve faced working as an MUA amid COVID-19? How have you been able to overcome those obstacles?
Well, I basically surrendered my entire freelance makeup artist career to the virus and I still have not picked it up. Unfortunately, I simply don’t feel safe working that close to anyone’s face. Over the last two and a half years, I hustled to make a name for myself in a new city and country, only to have it completely squashed by COVID-19. That one still hurts.
But in staying home and making more use of my own face, I turned my hobby of posting online into a job. Now, I’m spending my time creating looks, video and photo content and getting paid for it. There are so many people out there using platforms like Instagram for creating content and to express themselves. The online social community is a real place for inspiration and discovery, which keeps me going through this challenging time. The loss, which is hopefully temporary, came with a gain.
In what ways do you think the dynamic of the beauty industry has changed this past year?
Generally, I think the beauty industry is changing entirely. The beauty industry for online creatives and beauty content creators is in the midst of a continuous shift, and over the last year, I have seen more accountability from beauty brands, transparency on the inner workings of the “influencer” sphere, and a lot more people and former working makeup artists using themselves as their own canvas. The beauty industry desperately needs to prioritize more queer voices and faces, especially those of BIPOC folks. I’ve seen it more this year than ever but there is work to be done. The retail makeup space is undergoing a change in terms of the consumer experience, and a lot of brands are primarily e-commerce now. As for the creative world and working on set (not that I can speak from experience anymore), safety precautions are continuously evolving, but the show must go on. I feel like we’re all becoming more independent, and I think brands are starting to see their consumer as the authority, rather than the other way around.
“The beauty industry desperately needs to prioritize more queer voices and faces, especially those of BIPOC folks. I’ve seen it more this year than ever but there is work to be done.”
What does beauty mean to you?
Standing in your truth. Accepting what you love about yourself and also accepting what you might not love about yourself. To me, beauty is not only about how crisp your eyeliner is or how glowy your skin looks. It’s accepting all of yourself in all forms. Most importantly, it’s about doing what feels best, regardless of how the world sees you. If it feels right, do it.
What is your creative process like when coming up with your beauty looks?
It’s usually based on an image, shape or a specific group of colors. Sometimes I sketch it out when I’m really organized, and other times I wing it from an idea floating around in my head. When I can’t get it right, I’ll take a selfie and doodle on my own face until it makes sense to me. Executing it is a whole other venture. I’m a Pisces so my head is always in the clouds thinking of ideas.
What are your do’s and don’ts when it comes to makeup?
I don’t like telling people what they should and shouldn’t do with their makeup. My least favorite part of working as a makeup artist is the expectation that my opinion and experience is superior to someone else’s. It’s important to be able to offer my input when it’s needed, otherwise, I mind my business. What I will say is, don’t be afraid of makeup. Wear as much, as little as you want or nothing at all – however you want. It’s your face and it washes off.
Can you share with us any exciting projects you’re working on for the rest of 2020 and in the new year?
I was recently named one of three winners in a contest with a well-known makeup brand, so over the next few months and into the new year, I’ll be working collaboratively on a collection with one of my favorite musicians that is set to launch next summer. Easily the most exciting project I’ve ever been a part of!
I’m also taking part in Instagram‘s #ReelSelf Sessions this October, which is a virtual three-day event packed with exclusive content and inspirational talks to support creators to learn, grow and express creativity. The sessions themselves will cover everything from creativity online, how to get noticed and insider knowledge to keeping well online and offline, as well as forecasting new trends. The online world has been a great place of support for me, and I’m looking forward to sharing my experiences.
Otherwise, I’m always brainstorming ideas around how I’d like to leave my mark on the beauty industry. Hopefully, 2021 will bring me a return to my freelance makeup career, a new set of goals and more exciting opportunities.
Though tough to recreate, the looks at Haider Ackermann’s otherworldly show were impossible to forget. It saw bleached brows and gravity-defying hair sculptures, courtesy of make-up artist Lynsey Alexander and hairstylist Duffy. Drama reigned at Rodarte, Anna Sui, Fendi and Roksanda, too, where lips were painted in gothic deep-plum hues. Lastly, at Moschino, the Marie Antoinette-inspired hair and make-up was more theatre than catwalk.
Beautifully Flawed
The foil to sleek, polished moments of glamour? Lived-in make-up. The look was led by Gucci and its entry into the make-up arena – Thomas de Kluyver, Gucci Beauty’s global make-up artist, mixed the label’s new mascara with water to create a smudged, tear-stained effect. This was co-ordinated with chipped nails – the height of high-school cool. Pucci and Max Mara also favoured worn-in eye make-up, with the models’ black liner and mascara looking as though they had slept in it and woken up just in time to stride down the catwalk. At Lanvin, the two-day-old, chunky-but-neat lashes took the edge off the otherwise sleek look. Do note, imperfect make-up isn’t as simple as it looks – utilising remnants of make-up from the day before might be an easier way to tap into the trend.
Let’s Go Retro
“Hitchcock heroines” and “18th-century-inspired hair” were just a couple of the beauty references uttered backstage at the autumn/winter 2020 shows. In Paris, at Miu Miu, hairstylist Guido Palau created styles in homage to the 1940s, using an “old-school way of achieving curls” that were shaped into waves and flipped to one side. There was a similar theme at Chloé, with Palau crafting everything from boyish updos to set waves. In London, at Erdem, Anthony Turner’s lacquered S-shaped finger waves were set low on the side of the head with a severe side parting, for a modern take on the look. Meanwhile, at Shrimps, hair recalled a young Diana, Princess of Wales. It’s retro, but now.
The Mane Event
With the creation of colourful roots (at last, a way to conceal grey regrowth in a joyous spirit) and the return of the ponytail, hair became the ultimate beauty accessory this season. Slicked-back looks populated the catwalk. At Erdem, Burberry, Christopher Kane and Givenchy, Guido Palau pulled hair into strict middle partings or combed and gelled it into place, leaving the hair to hang loose at the back. “I’ve complemented the amazing clothes with some soft hair textures,” he explained at Christopher Kane. Bright roots featured at Alexander McQueen and Balenciaga, where there was a nod to pop star Billie Eilish’s penchant for two-tone colour. Sam McKnight improvised with feathers to create the illusion of colour at Dries Van Noten. For a day-to-day hair trend, the humble ponytail took centre stage (see Carolina Herrera and Brock Collection) – perhaps the most mesmerising being McKnight’s half-up/half-down version, complete with a Chanel bow. Butter wouldn’t melt.
Winging It
Winged eyeliner has had an overhaul. Yes, black remains a classic, but this season blues and metallics frequently featured, too. At Dior, Peter Philips, creative and image director of make-up, perfected a full-kohl look with thick outer-corner wings – it reminded us of Maria Grazia Chiuri’s own signature eyeliner, and was statement enough for the collection. Pat McGrath’s futuristic, cyber-esque take at Prada resulted in a block of metallic shadow that sat in and above the eye socket, extending out on either side, so as to expose a flash of molten colours. Whether you prefer a delicate flick, as seen at Missoni, or a more adventurous approach, such as Altuzarra’s, it was all about dressing the eyes for the runway.
Get Reddy
The return of red lipstick has officially replaced the past few seasons’ run of natural hues, and it was paraded down the catwalks in a variety of textures, from matt to glossy to balm-like. At Carolina Herrera, make-up artist Lauren Parsons used the fashion house’s new lipsticks to reimagine “Spanish baroque beauty”. Punchy matt-red mouths were among the looks, with lips silhouetted in a crisp red outline on a canvas of clean skin. At Oscar de la Renta, Tom Pecheux was eager to turn the classic on its head: “It felt like the right time for red again, so we created a very precise lip that’s glossy,” he said (he went the extra mile and colour-matched the shade to a swatch of red fabric from the collection). Diane Kendal painted perfect rouge lips at Lanvin, Jason Wu and Proenza Schouler, and Pat McGrath returned to the red pout at Givenchy and Marc Jacobs, cementing the trend for the season.
Clever Contour
As we dial back the chiselled contour in favour of a softer look, the runways inspired new ways of defining cheekbones. Subtle, flushed hues and bronze shading helped to create perfect skin. At Michael Kors, make-up artist Dick Page warmed cheeks with a creamy peach blush to give natural definition. At Tom Ford, the illusion of symmetry was created by playing with light and shade, and at Brandon Maxwell the make-up direction of “ultimately feminine” meant a blended cream to add warmth and highlight.
Heavy Metals
At Marni, there was extreme glitter application by Julien d’Ys, who painted over faces and hair. At Erdem, Lynsey Alexander created silver-foil strokes across the eye sockets to reflect the collection, entitled The Age of Silver. At Preen and Simone Rocha, broken-up textures in metallic colours abounded, while at Halpern, Giambattista Valli and Valentino, jewelled eye-halos and winged, crystal-encrusted crowns framed faces. It was a welcome touch of couture beauty creeping into the ready-to-wear runways.
(Disclaimer: I do have Sanita’s consent to post her images on designated websites including Facebook, Instagram, WordPress, and use in my digital portfolio.)
