Your work has a very artistic and texture-rich visual identity. How would you define your style as a makeup artist, and what influences have shaped that aesthetic?
I see makeup as a medium not only to divulge in my creative world of textures, hues and imagery, but also to have that poignant human connection with my clients. I would define myself as a rather fearless, unconventional storyteller. To me, my work as an artist must bring forth the inner child of passion, colour and freedom which is reflective of my work. My culture, tradition and childhood have played a huge role in shaping this aesthetic.
You have collaborated with brands like Dior, Chanel, and Bvlgari. What was your first approach to these major fashion houses, and what did you learn from those experiences?
I’ve had the privilege and honour to work with these amazing brands and teams like Dior, Chanel and Bvlgari mostly through publications that have highlighted either their newest beauty launches and products or jewellery. I would say my learning experience would be taking in and understanding the brand’s aesthetic and somehow giving my personal creative touch while highlighting the product in a very subtle or emphatic manner depending on the client’s needs.
What was the moment or project that felt like a true turning point in your career?
I would say the Boucheron Campaign that I did back in 2022.
Your work between Dubai and Paris, two very different fashion scenes. How does that cultural duality reflect in your creative process?
I rather not be identified by a “certain” culture or geographical disposition in terms of my work. Even though the fashion scenes and mindset are significantly different, in some ways I endeavour to create a good balance keeping in mind the rich tradition of United Arab Emirates through my work in the beauty industry.
What challenges have you faced as an artist in such a competitive industry, especially as a Pakistani woman navigating the international fashion world?
Unfortunately, the challenges have been very much prevalent throughout my makeup career, even till date… especially living in this part of the world where there is limited access to working with a diverse number of photographers, models, stylists, at times one finds oneself entwined in a creatively frustrating web.
You’ve worked on award-winning fashion films and conceptual editorials. What differences do you find between doing makeup for the camera versus the runway?
In my opinion, all genres of makeup stem from good skin and hydration. The prep is vital in doing all sorts of makeup. However, the Runway Makeup versus Camera or Film differs in various ways such as lighting, direction, application of makeup, brands, etc… so alignment is key in creating a visual story and delivering an aesthetic of the brand. For example, in Runway the lighting is harsh, hence makeup artists are required to emphasise a clean, balanced skin tone with subtle highlights and shadows. The makeup needs to look flawless from all angles even under intense lighting, versus in Camera or Film the matte foundations and powders are applied to combat shine. Warm natural tones are favoured over cooler and brighter tones as they tend to look more realistic on camera.
What are some of the most common mistakes you see in editorial makeup, and how do you avoid them in your own work?
Working against the aesthetics of the brand or the mood board, and creating a look that is too polished or refined and not reflective of the brand’s / client’s identity. I try to avoid such mistakes by having a detailed discussion with the creative director prior to the shoot in order to be aligned with their requirements for the specific project.
How important is storytelling and narrative in the way you create makeup looks for shoots or campaigns?
Storytelling is pivotal in creating a certain makeup look for a campaign or shoot. The narrative has to be cohesive. Multiple ideas or makeup looks can be extremely chaotic and can lead to total disarray.
Do you have any creative rituals before diving into a new project or editorial session?
I like to meditate followed by a rigorous workout before I dive into my creative realm of self-discovery. This ritual really helps me focus on my work.
What dreams or goals would you like to achieve in the coming years? Is there a brand, city, or person you dream of collaborating with?
Well, my goal in the coming years would be to work internationally with amazing, talented artists and to have an international presence. I would love to collaborate with the amazing photographer Zhong Lin whose amalgamation of art and fashion sets her a world apart in this field.
What inspires you outside the world of makeup? Are there any forms of art, music or film that feed your creative vision?
I’m inspired every single moment in my life! Whether it be my travels to a Moroccan rug shop or a Pakistani wedding where the colours and textures play a visual delight to the senses. Sometimes the mere simplicity and art of being served at a Japanese restaurant helps my mind conjure a new world of makeup ideas and how to implement them in a unique and different manner.
The movie Roman Holiday and Audrey Hepburn uniquely feed my creative vision. Audrey’s flawless skin and doe eyes is my forever favourite makeup look.
In such a demanding industry, how do you take care of your mental health and stay grounded as both an artist and a person?
I have a simple rule of staying focused and grounded.
Mind your own business
Perseverance.
If you have these two traits nothing affects you or deters you from your progressive mindset in achieving anything you want in life.
If your makeup kit could talk… what wild or unexpected story would it tell from a backstage or editorial experience?
Haha… that’s a fun question!
When I was sent on my first job as a makeup artist I thought my heart would pop out of my chest as I was so nervous and anxious… however, as I reached the client I made her feel so calm and came across as so confident in my demeanour that she really thought I had been doing makeup in the industry for long!
For me, that was wild!
