Totally unintentionally, Dominic has become a bit of an Instagram sensation with over 150k followers watching his antics in makeup. “When you’re working on counter, you see the senior artists when you go to Update training days, you see their faces everywhere, and you think ‘One day, one day.’ So when I got the job I was so excited and I wanted to start an account to document what life is like in the role, both for myself but also for all those artists that are on the shop floor and want to be a Senior Artist one day too. This way they know what to expect and can come along with me on the journey.”
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 his MAC and Backstage related work. “I wanted to show people the incredibly wide variety of work you do as a MAC 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.
As for his trademark curlicue moustache, it’s kept in place with sheer will and un-discouraged faith, plus a little hair product combed through with a disposable mascara wand.
How it all began
My very first recollection of makeup as an art form was watching Blade Runner. 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 of 'The Face' magazine styled by Judy Blame. I was obsessed and afterwards, I would take the images and try replicate the look.
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.
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?