RAE MORRIS

<AD> Mana’s look celebrates the pursuit of flawlessness. Is this something you’ve always strived for in your craft?
<RM> I love that our world embraces both perfection and imperfection. As makeup artists, we strive for excellence, but true flawlessness is more complex. Especially with a face like Mana’s—her skin is so pristine that even the smallest imperfection becomes visible. It raises the stakes. That challenge pushed me to give it everything. I know how many incredible artists look to these kinds of publications, and I wanted to bring my absolute best. Flawless is always the goal—but getting there is an art in itself.
<AD> I think where you stand out is your approach to colour and form. Can you talk us through your process in building Mana’s look and choosing the palette?
<RM> I love this question—because the truth is, I don’t actually like colour. But I do love it. For me, it’s the extra. My world tends to exist in black and white—very yin and yang. You won’t find soft pastels or gentle washes in my work. If I use colour, it’s bold, it’s intentional, and it makes a statement. To me, strong colour is timeless. It can feel elevated, expensive, and editorial when done right. The imagery I’ve always been drawn to—David LaChapelle, Helmut Newton—it’s high contrast, decisive, unapologetic. There’s no in-between. You either go there, or you don’t. <AD> The palette of Mana’s look, with the purples, pinks, and reds, are such visceral feminine colours, which I felt worked well to contrast the harshness of the black tape and the lighting and the rest of the storytelling.
<RM> Yes—femininity is the word. Even though the look is bold and powerful, I wanted it to carry a certain softness, a quiet beauty. I wasn’t trying to create something harsh or confronting—though I do love exploring that space sometimes. This time, I wanted something you could look at and feel drawn to. Something you’d hang on a wall, not because it’s loud, but because it lingers. Because it’s beautiful.
<AD> Makes total sense. Each shot turned into a piece of art; they’re stunning. Watching you create the flocked lip on Mana was incredible. Can you share more about how you developed this technique?
<RM> Returning to the idea of restart and refresh, I wanted this to feel like a reset for the industry—a quiet reminder of where we came from. A time when everything was done by hand, when craft took time, and makeup was about pushing creative boundaries. So I asked myself, What’s something I’ve never done before? That’s the question I try to bring to every shoot. I knew I wanted a red lip—I’ve always loved a red lip—but we’ve all seen it a thousand times. The challenge was, How do I make it new? That’s where the idea of texture came in—specifically the texture of a tennis ball. Someone mentioned “flocking,” the technique they use to create that velvety surface. It wasn’t easy. It involved staticelectricity—Mana had to hold a charge while I held the opposite—and the particles would attract to her lips. It was complex, experimental, and honestly a little risky. But that’s what I loved about it. I didn’t want it to be simple. I wanted to create something that, when you look at the final image, you can feel the work behind it. A celebration of the craft, the detail, the risk—and what’s possible when we’re allowed to truly create. <AD> I loved watching you bring that look to life in real time.
<RM> I believe we do our best work when we’re not afraid to make mistakes, because that’s when real creativity happens.
<AD> When you’re working with experts like yourself, that fail bracket is quite small. Even though it was our first shoot together, your history and work speak for itself. So, there was absolutely no doubt in my mind that we would get a shot in some way, shape or another. <RM> Creative collaborations thrive when platforms like Alice.D offer artists the freedom and trust to explore. Over time, I’ve become adept at navigating on-set challenges, supported by a strong, reliable team. I often advise fellow artists to position themselves as the ‘weakest link’ on a shoot—not to diminish their role, but to emphasise the value of surrounding oneself with talented individuals who offer diverse perspectives. Working with someone like Michael is a testament to this approach; his unique eye often captures nuances I might overlook. There have been moments when I doubted a look, only to be amazed by his shot, realising it’s among the best I’ve seen. This experience underscores the importance of trusting in the collective synergy of lighting, angles, the model’s presence, and wardrobe—all elements that elevate the final image.
<AD> Our director Kristie and I had this exact conversation about the strength in art direction and everything coming together on set. All the little puzzle pieces. And she said the exact same thing, that when she was styling shoots, she would always love to work with people who could bring something that she couldn’t, because then you fill out the gaps.
<RM> I completely agree. I often remind aspiring makeup artists that our goal isn’t just to showcase the makeup itself, but to enhance the overall beauty of the image. Sometimes, the most impactful choice is to apply minimal or even no makeup at all. Recognizing when less is more can transform a photograph, highlighting the subject’s natural features and creating a more authentic, compelling result. It’s about understanding that subtlety can often speak louder than extravagance. The late Richard Sharah, the creative force behind David Bowie’s iconic Ziggy Stardust look, was not only my mentor but also a dear friend. He once shared a piece of wisdom that has profoundly shaped my approach to makeup artistry: “The best makeup artists know when to put the brush down.” This lesson has been instrumental in teaching me the importance of restraint and the art of knowing when a creation is complete.
<AD> I need to pause for a second, I’m having a moment because David Bowie is my style icon.
<RM> I had the incredible opportunity to see Richard Sharah’s original sketches and plans for David Bowie’s iconic looks. It was Richard who conceived the lightning bolt design for Bowie’s ‘Aladdin Sane’ persona—a testament to his visionary creativity. Remarkably, despite being slightly colourblind, Richard had an extraordinary ability to use colour in groundbreaking ways. Being his last student before his passing was both an honour and a profound influence on my own approach to makeup.
<AD> Iconic. David Bowie is the one person I would sit down and have dinner with dead or alive.
<RM> Maybe in another life.