In the Chair with Saltburn’s Makeup Designer, Siân Miller

Siân Miller is an award winning and BAFTA nominated Hair and Make-Up Designer with 35 years experience in the British Film and Television industry. Formerly an art school graduate, Siân trained at Vidal Sassoon and The London College of Fashion.

In 2022 Siân was BAFTA nominated in the Make-Up and Hair category for Joe Wright’s ‘Cyrano‘ and shortlisted for the Academy Awards. Siân’s recently released work includes Hair, Make-Up and Prosthetic Design for Emerald Fennell’s ‘Saltburn‘, for which she won Best Contemporary Hair Styling and Best Contemporary Make-Up in a feature film, at the 11th annual the MUAHS Guild Awards 2024. Paddington in Peru, released in November 2024, features Siân’s work as Hair, Make-Up and Prosthetics Designer.

Siân, could you share with us what initially sparked your interest in makeup artistry? Were there any early influences or experiences that shaped your career path?

I studied art at school and followed this with a further 3 years at art school, ultimately studying interior architecture and design. This education and development of my creative skills was invaluable but I wasn’t content. It became very apparent to me that my love of cinema, theatre, painting, sculpture and fashion was pulling me towards hair and make-up artistry. With a background in 3D design, it felt like a natural but very competitive move to make! I sought advice from the BBC and was inspired to apply for a place on the Specialist Make-Up course at The London College of Fashion, who in turn advised me to become a hairdresser first, which I did at the Vidal Sassoon Academy. This undoubtedly shaped my future career.

Reflecting on your career, what are some of the most memorable projects you’ve worked on as a makeup designer? What made these experiences special to you?

I was super fortunate to be invited to design a show for the BBC called ‘This Life’, which we made in the mid 90’s. The director, Sam Miller, had been an actor I’d worked with at the start of my career and when he then started directing I became Hair and Make-Up Designer for his first short film, starring a very young (pre Cold Feet and Friends) Helen Baxendale. Following this he became hugely successful and requested me for what was to become a 90’s cult television success story, which launched many more careers. We made 2 seasons of ‘This Life’ and I will always cherish the experience; the scripts, cast, production, crew – it was groundbreaking. Thirty years on from those days, being the Hair Designer on Cyrano directed by Joe Wright was an incredible experience and ultimately being the Hair and Make-Up Designer on Saltburn was unbeatable. These projects all offered a unique experience, where the director, production values, cast and crew come together to make something that you just know is going to be very special. Overall I’ve travelled to amazing places in the line of my job and experienced fascinating locations from high security prisons, to the wilds of Africa and Hawaii and the temples at Luxor – the list is long!

Can you walk us through your creative process when conceptualising makeup looks for a new project? Where do you draw inspiration from?

I start by reading the script several times which (often in the absence of casting) will conjure visual ideas of what these characters might be. I’ll make a lot of notes and put together some initial mood boards, as a conversation starter, for when I meet with the director to discuss ideas. Of course casting will have an influence and the collaboration between actors, directors and HMU designers is so important; as hair and make-up artists we should never take sole ownership a character design and it’s working together to help create an actor’s role that is such a satisfying part of the process. Inspiration comes from so many places. This may be from factual or fictional sources, be it documentaries, books, galleries, art and design, history, fashion, pop culture, music, sports, politics, film and TV genres; the inspiration can be so wide reaching.

Siân, how would you describe your signature style or approach to makeup design? Are there specific techniques or elements that define your work?

I guess my signature style is relatively nuanced. My aim is for the hair and make-up designs to speak about the characters that inhabit the looks, but not to overtake them. I avoid creating anything that looks too ‘done’ unless of course that’s a character’s motif. I think contriving the uncontrived is one of the toughest jobs we face and takes some doing, and generally my goal is to transform as required, without the work done becoming blatantly obvious and therefore distracting. Very often the work we don’t ‘see’ is most enjoyable to create, and I really enjoy the character transformation that people have no idea is there.

What have been some of the most significant challenges you’ve faced in your career, and how have these experiences contributed to your growth as a makeup artist?

Before moving into to the film world, I spent 17 years working in television drama, in small departments with very little resources. The ‘flying hours’ achieved doing this kind of work has been the backbone of my ongoing development. Bums on seats and 1000’s of actors in the chair over the years has undeniably shaped my growth. Looking back, I’m not actually sure how we managed with so many cast to look after but we did and the learning potential was excellent as a result. Being able to pull something out of a bag, think on your feet with no time to spare and to be resourceful with minimal materials is an essential part of our role. In turn the challenges of late casting and last minute changes are supported with this experience to pull from.

How do you build strong relationships with your clients and collaborators? What role does trust and communication play in your interactions?

Trust and communication are paramount. Being flexible, open minded and with the ability to listen is a must and the realisation that there is no room for ego. It is essential to be well prepared, this goes without saying, and putting in the hours to do the homework, not only prepares you for a job, but it shows. I also think that it is hugely important to have a wide reaching knowledge of the film and television medium in which we work. I think a healthy appetite for learning and the expansion of cultural and historical knowledge is essential to the creative process. The ability to communicate ideas coherently, both visually and literally is a must and I really enjoy this part of research and development on a project.

How do you stay informed about the latest makeup trends and industry developments? How do you balance following trends with maintaining your unique style?

I watch and read a lot of content, be it in a digital or printed format. I like to keep abreast of what’s new in the world of make-up in our industry, SFX, current fashion trends and more. I am also keen on attending courses which will develop and refresh my skills. However, I am always character driven with my designs, led by the script and in collaboration with the director and cast. Following fashion per se is definitely a trap that’s easy to fall into when creating a character and it is so important not to be misled by the current vogue if it’s not a character driven factor.

 

Looking back, what are you most proud of achieving in your career so far? What are your aspirations or goals for the future in the field of makeup design?

I have been incredibly fortunate to have a flourishing career for over three decades, with a great training to start with for which I will always be thankful. I think working as Key HMU with Wes Anderson on The French Dispatch (HMU Designed by Frances Hannon) was definitely a high point, although the two films I am most proud of have to be Cyrano and Saltburn. It was incredible to have this work acknowledged by my peers and both films offered the opportunity to be incredibly creative in different genres, although technically, both are period films. I would love to design another period film and a psychological horror film has a big appeal right now!

And finally, what advice would you give aspiring HMUAs?

I would advise anyone who’s interested in this job to get as much training as possible and to make sure that a really good training in hair is achieved along with all the other skills required. To practice the craft, to observe others, to really ‘watch’ films – lots of films, to never stop learning, to be interested in art and design, fashion, culture and history. Most importantly to accept that the road is long and that no one expects aspiring HMUAs to have all the skills straight off, but I would expect honesty about what skills exist and what is still a challenge; to ask questions and get advice rather than bluff and then fall down. Where there’s open mindedness, positivity, maturity and a willingness to learn, there’s someone who already has the right qualities we look for in new HMUAs. Go for it – it’s truly a wonderful job that can take you to incredible places with amazing people!