[NEXUM CREATOR'S INTERVIEW] Learn how to cultivate originality from makeup artist Yuka Hirac
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"CREATOR'S INTERVIEW" is a series of interviews by NEXUM JAPAN, which started as a community site for creators. It looks back on the lives of various creators active in the industry and considers the nature of creativity.
For the second interview, we visited makeup artist Yuka Hirac at her studio. We explored
the essence of creativity, the source of Yuka Hirac's creative endeavors, and where her originality comes from.
Yuka Hirac
He moved to the UK in 2006 and began working as a makeup artist after graduating from the London College of Fashion. After returning to Japan in 2013, he has done makeup for many famous fashion magazines, as well as being in charge of collections for Yohji Yamamoto POUR HOMME and ANREALAGE. In 2020, he published "52 days visual diary", a creative diary of 52 days during the COVID-19 pandemic. He is currently not limited to makeup, but is also holding exhibitions and expanding the scope of his activities as an artist.
Instagram: https://www.instagram.com/yuka_hirac/
◾️Please tell us about your current activities.
Currently I work as a makeup artist for fashion and catalogues, and apart from my day job, I am also working on personal projects such as creating my own book and holding exhibitions.
◾️Could you tell us what inspired you to start working in makeup?
<How I became interested in hairdressing>
When I was in high school, there was a hairdressing boom, and all my friends around me were aiming to become hairdressers.
So, naturally, I became interested in hairdressing as well.
At that time, I loved magazines, and I often bought London's iD and Purple. However, those overseas magazines were very expensive, and there were very few stores where I could buy them. I remember always buying them at the only store I found. However, at that time, I had never thought about working as a hairdresser, and I was just aiming to become a hairdresser.
<How I became interested in makeup and went to London>
I started to become interested in hair and makeup after graduating from beauty school.
While working at the salon, I had more opportunities to work on pre-coming-of-age ceremony photo shoots and makeup, and gradually I started to feel that I might like makeup more.
So I decided to take the plunge and go abroad, but I was really torn between New York and London. I used to dance, and I liked street culture, so I was also interested in graffiti in New York. However, after doing some research, I found out that I could learn directly from artists at a makeup school called Glaucarossi in London, so I decided to go to London.
<London time>
I went to London, but I didn't actually go to Glaucarossi (laughs).
First, I went to Brighton, which is close to London and relatively cheap, to study the language. However, when I got there, I found out that Glaucarossi's tuition fees were high, so I ended up going to LCF (London College of Fashion).
When I started going to LCF, I learned for the first time that it was possible to work separately in hair and makeup. I wanted to do both, so I worked as an assistant to a hairstylist, but by the time I graduated, I was strongly attracted to makeup. I
'm still interested in hair and I like looking at it. But I decided not to do hair and makeup. Because I usually work with hairstylists, I can understand how amazing they are, and I thought it wasn't for me.
◾️Were there any artists who particularly influenced you?
Well, now that I think about it, I was heavily influenced by the makeup artist Pat McGrath, who I saw on TV when I was in high school.
At the time, overseas fashion shows were sometimes broadcast on TV, so I was able to see Galliano's early shows. When I first saw her working backstage, I thought, "What a cool black woman!" and was really fascinated by her strong presence. I admired her so much that there was a time when I even wore a turban like her. (laughs)
◾️What kind of work did you do after graduating from LCF?
After graduating from LCF, I didn't go straight to the elite road, and there was a time when I didn't do much assistant work. I was interested in backstage at shows, but I didn't have the courage to go for a while.
At that time, I was very grateful to the Japanese artists I met in London. They called me to help and assist, and I had the opportunity to interact with other Streeters artists, but to be honest, I wasn't very good at assisting. I'm not the type to be considerate, I'm not good at English, and I used to run away (laughs). Still
, while working as an assistant, I was invited to shoot for magazines, and although I didn't get paid sometimes, I enjoyed working for small magazines. I worked there for a while like that, and then I returned to Japan and have been here ever since.
◾️When did you first establish your current creative makeup style?
I think there are two triggers.
The first was when I was a lecturer at a vocational school.
I think that because students are young, they sometimes come up with crazy ideas, and they often ask me, "Teacher, I want to do this, but how do you do it?" To be honest, there were many things I didn't understand, but I was like, "Huh? Let's try it!" and it was a lot of fun trying out various things experimentally.
The other was when I held a group exhibition called "'moment'".
This exhibition was a little different, as it was a collaboration between an art director, a photographer, and me to exhibit our works.
The trigger for planning this exhibition was when I talked to the photographer about how we makeup artists are usually not free to do what we like in our work and work. Photographers, directors, and other people in a position to direct a work can refuse requests that don't fit their style. However, we hair and makeup artists often create works by exploring the image that the client, photographer, or director wants to create, and I think there are few opportunities to express our creativity independently.
That's why, in this exhibition, rather than someone directing it, we created works in which everyone came together to find the final destination by doing what they wanted to do to the fullest. That's why we titled it "moment."
◾️Your solo exhibition "52 days visual diary" was an exhibition of works that you created all by yourself, without a photographer. Can you tell us more about that?
This work was made during the COVID-19 pandemic, and I didn't intend to hold an exhibition at first. I didn't have plans to make a book, and I hadn't thought about anything.
However, all my work stopped due to the COVID-19 pandemic, and I thought that I would get depressed if I stayed at home, so I thought, "I might get depressed if I continue like this." Just as I was thinking that, a new assistant just moved nearby, and I thought, "Let's improve our skills together," and started doing makeup on my assistant's face as an experiment.
At first, I taught my assistant while I was doing it, but gradually I shifted to what I wanted to do. At that time, I decided on the concept of "taking one look a day" and declared it on Instagram. (laughs) I continued doing it every day, and it ended up being a time to pursue my own expression. It helped me relieve stress and organize my feelings, and it was such a fun and fulfilling time that I felt, "I wish this time could continue forever." So, I ended up holding an exhibition.
◾️Shooting one look per day is an incredible amount of ideas. Also, I have the impression that you always do new and innovative makeup, how do you come up with the ideas?
When I create a work, I don't think too deeply about it, I just go with the flow. I just try it out.
Also, I often get ideas from something I see at random moments. For example, when I wash my brush after using a lot of paint, a beautiful color comes out, and those moments are interesting and inspiring.
I tend to carry my cell phone with me everywhere and take pictures of various things casually.
◾️I think Yuka's makeup has her own unique style. Do you have any advice for people who feel they lack originality or are worried about their own originality?
I think originality comes naturally from the things you like and your past self. In
my case, apart from makeup, I like insects, and when I line up pictures of things I like, I gradually start to see "this is who I am". I think that looking back on the things you like and your past in this way often gives you new inspiration. If you
only think about makeup, you might end up getting stuck. So I think it's important to look at materials that interest you and things you like, not just makeup. I've been interested in silicon lately, and I'm simply interested in it because I feel "this is interesting", but I don't like it as makeup or anything like that. In this way, I think that as you collect things you like and take pictures of them, your own personality will naturally come out.
I also often go for walks. I take pictures of places that catch my eye on my walks, and when I look back on them later, they're quite interesting. (laughs)
◾️If you couldn't find originality and it became frustrating, what would you do, Yuka?
I think that the things and styles you really like become clear as you continue. So, when you are unsure, I think it's important not to quit right away, but to continue even if it's a little tough. Of course, you can try something else at the same time, but as you continue, you will gradually realize that "this is me."
If you continue for years, what you want to do and what you like may change. But rather than switching all at once, I think it's good to try something different while continuing with your current creative work. I think that will ultimately lead to your own originality.
◾️Finally, what do makeup and creation mean to you, Yuka?
It's mostly a way to release stress. But maybe that's not the best way to put it (laughs).
I think everyone has a lot of things that don't go well in their daily lives. At times like that, instead of leaving it as it is, I use it to create some kind of work, and it makes me feel a little better inside. It's like creating something resets my mood.
Also, sometimes I feel like I'm sorting out my thoughts by creating a work. It's like processing data, and through my work I realize, "This is what I like now." In that sense, I think creation is also a way to understand what I like.
Interview /Text /Photo(at her atelier) Marino Asahi
Assistant Kana Koga
Yuka Hirac is currently recruiting assistants.
If you are interested in being an assistant, please check the bulletin board below and apply.
Bulletin board URL: https://nexumjapan.com/items/5751
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