Dominic Skinner

Global Senior Artist
Time in current position: 4 years
Joined M.A.C: 2004 in London

Being labelled as ‘A must to follow’ by various online and printed publications, Dominic’s Instagram feed has been the go to destination for all this M‧A‧C and Backstage related. “I wanted to show people the incredibly wide variety of work you do as a M‧A‧C Global Senior Artist. From the backstages of New York or Paris to the front rows of London’s West End. Each day is different and each day brings new inspiration. With Instagram I found a way to let people in and join me on the ride.”

Growing up, life as an artist was always his goal. "I always wanted to be an artist living in Paris in a cold and lofty apartment, victimised by the weather, that was always the plan. However, the poetic vision would never hold up against the cold hard reality.” He went to art school and got into photography but he became obsessed “with the idea of makeup as an addition to the image rather than something separate." And then M.A.C happened.

“I was really shy before I started working for M.A.C and remember I’d have to be pushed to go and talk to a customer. But I think working for the brand has really allowed me to come out of myself and be happy and comfortable for who I am. I’m happy to make a fool of myself.”



“Every day is different, every day brings new challenges and new inspiration. That’s what I love so much about working for M.A.C”


HOW IT ALL BEGAN...

My very first recollection of makeup as an art form was watching Bladerunner. I must have been about 10 years old but I’ve got older brothers so I was always doing things I wasn’t really allowed to do for my age. But watching Daryl Hannah spray the black paint across her eyes was the first time I saw not just makeup but makeup as a creative form. After that I would get out my mum’s makeup bag and smother the face of anyone who would sit down long enough.

In my later teenage years I grew up in Switzerland and there was little exposure to urban culture and what I saw coming out of London. Then one day at the local train station I remember seeing a cover the The Face magazine styled by Judy Blame. I was obsessed and afterwards, I would take the images and try replicate the look.

MAKEUP EVOLUTION

I found the leap from art to makeup very easy. It seemed very obvious: colour theory, application, tools - there was no issue. The only issue was the confines of society about how makeup is perceived, how it’s seen and used as an identity as opposed to a form of creation.

JOB SPEC

Every day is different, every day brings new challenges and new inspiration. That’s what I love so much about working for M.A.C. Yesterday I was doing a drag look, the day before that I was doing body painting and tomorrow? Who knows, maybe a Red Carpet appointment. You have to be adaptable to any style. I still love working on shoots. And, of course there are fashion weeks which I really look forward to each season.



“For me, fashion weeks are when the culmination of the past six months of playing, deconstruction and manipulation comes to fruition”


SHOW TIME

For me, fashion weeks are when the culmination of the past six months of playing, deconstruction and manipulation comes to fruition. The artists we support or work with always want the new, but a lot of the time there is nothing new. It’s just how you package it and how you formulate it and that’s where I can really come into to my own. Creating a nuanced colour by mixing this and that together and creating something special and unique just for them and that show. My relationship is one step removed from the key artist role but I know I’ve contributed something that has made it all happen and it’s all about knowing someone’s creativity is being realised.

SOCIAL SKILLS

Being someone who was once the shy kid in the corner to being someone who now speaks to a global audience is still surprising to me. I would never have saw the role of a brand ambassador in my future, but now I couldn’t see myself doing anything else.

MY MAC-ITUDE

When I was a painter, you have to add texture to create depth and 3D imagery. And the overriding aesthetic for me would always be texture. For me there is nothing more dull than a matte face, there’s nothing of interest there. Whereas slip on a bit of gloss - on the eyes, the lips, wherever - and suddenly it’s really interesting. It’s alive. Something to catch the eye, make you stop, stare and think about. After all, isn’t that what Art is all about?

WHAT IS YOUR LATEST VENTURE?

Excitingly, I’ve just finished filming season 1 of Glow Up, a new reality competition TV show, for the BBC. I’ve been working alongside the iconic Val Garland judging 10 up and coming makeup artists. I’ve got so much out of it and watching these fresh new talents create and express themselves has been so exciting. It’s been great seeing them develop each week and become stronger and stronger both with their ideas and their skills and have also been an opportunity to bring the makeup industry into the living rooms of people up and down Britain. This is something that also came from social media and I really didn’t know what to expect and I have never done any TV before. However, it was a new opportunity and a new experience and what did I have to lose. Since doing the show I’ve gained more opportunities and I’m just taking everything that comes my way. Makeup is art and art is life so these new experiences are enriching my life so, in turn, enriching my makeup.

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EVERYDAY CONTOURING AND HIGHLIGHTING

Senior Artist Dominic Skinner shows how to give your contour routine an edge!