Teamwork Shaped Mata Marielle’s Path into Beauty

When the dark lip-liner trend reemerged via TikTok’s “clean girl” aesthetic last year, it blew up in the Gen-Z digital ether. However, for London-based makeup artist Mata Marielle, creating bold lip-liner looks has been a passion since she was 16. Marielle’s love for makeup started early, but it wasn’t until she volunteered at fashion shows for designers at Central Saint Martins that she discovered her true calling. With a background in fine arts and photography, the creative draws inspiration from the women in her family, black culture, and the unique variations of black beauty around the world. She is not only known for her signature brown-black lip color but also for her glossy, bold, and glowy makeup aesthetic, which she refers to as “the Mata look,” and has recently applied it to stars like Alicia Keys, Indya Moore, and Tems. Marielle has flexed her wide expertise, cultivating beauty looks for clients like Kendrick Lamar for The New York Times Magazine, runway for Ahluwalia and Robert Wun, and tears from Dazed Magazine and The Face. Drawn to a creative community that has supported her with projects, she has also collaborated with top creatives in the London scene, such as  Rafael Pavarotti, Ib Kamara, and Ibby Njoya. In a recent interview with Models.com, Marielle discusses her journey into the fashion industry, her inspirations, and the significance of collaboration.

What was your relationship with beauty like when you were growing up?
My relationship with beauty was different from most girls. I wasn’t allowed to wear makeup until I turned 16 because my mom was quite strict. Even after I was allowed to wear makeup, it was limited. I made the most out of the little I had. I started with a powder foundation by Mac, a chestnut lip liner, and a black eye pencil. I used the eye pencil on my brows and eyes and even lined my lips, then filled them in with the brown liner. I applied the powder foundation as my base. It must have looked crazy, but I loved it. Even with limited products, I felt like myself. I have always had this brown-black lip since I was 16, and it has become my signature look. It looks a lot cleaner and sharper now.

Your lip color is a huge part of your aesthetic and signature look. It’s interesting because lip liners have had a huge comeback lately, and you were ahead of the game.
I love to see it. It may not be for everyone, and it can look too harsh for some, but I have always carried it. I feel very powerful with my lips. It’s a statement.

How did you get started in the fashion industry? Was there a particular moment or experience that led you down this path?
My earliest memories of anything fashion-related were volunteering to work at any fashion shows, especially those that weren’t on the official London Fashion Week calendar. I would work backstage and help with everything, even when I wasn’t a makeup artist yet. I was always intrigued by makeup because my background is in fine arts, and I love art. I was always surrounded by hair and makeup happening backstage, but I was always working behind the scenes, doing everything else. When I started doing makeup, I put myself out there and reached out to students at ​​Central Saint Martins who needed makeup artists for their shows. I was able to do makeup for two designers’ shows, and that opened me up to more people. I grew from collaboration.

You said you have a background in fine arts. Did you go to university and study fine arts?
I was studying fine arts and photography at school. I did a photography course at the University of the Arts London and a foundation course elsewhere in art. I was doing every creative thing I could think of until I started doing makeup. Even then, I held onto a few things, and to this day, I still hold onto my other skills. I love taking photos and painting. Even though I paint mostly on faces, I still make face charts. Having studied art and done research on certain projects, I was able to learn so much and develop my skills. Having a background in fine art has definitely helped me in makeup. In my first ever makeup job, I had to do makeup on 14 women with different skin tones and ethnicities. If I hadn’t had my background in fine art, in color, and texture, I wouldn’t have been able to do that.

I noticed that your makeup aesthetic is very glossy, glowy, and bold. Where do you draw inspiration from?
Definitely Black people. Especially Black people from back in the day, from how they looked. From our aunties as well, how our aunt always had a strong lip line, and it was in a different color. My mom used to wear gold lipstick, lined with a red lip liner, and I just love how she would just carry this, even if it were to go to church; it was so dramatic, and she was just going somewhere as simple as a church. Definitely, there’s just so much power in that. I’m just like, “Yes, wear this strong lip to church.” I love that. I definitely get a lot of my inspiration from them, and some people would say it was over the top, but to them, it just came naturally. They did crazy brows and put a crayon over it. That’s what I grew up with, where I come from, I love the beauty of finding inspiration in beauty from Black people all over the world. I’m so grateful that I’m able to witness all this beauty all the time and get inspiration from them. I also obviously found inspiration from Black celebrities in Hollywood like Janet Jackson, Missy Elliott, Angela Bassett, and Viola Davis. Even though they’re different age ranges, they still bring inspiration to the table, and the inspiration that they bring is generational.

You created such ethereal works of art for Robert Wun’s couture spring show. What was the process of working with him for your first-ever couture show? And did you have to experiment with new materials for the looks? How was that process for you?
It was amazing. Robert is honestly one of the greatest people on this planet. I’m so blessed and grateful to even know him, and the process and the time that he takes with his work is so important. So with each look, we actually sat down right next to each other. He got his iPad out, I had my sketch pad out, and we were looking at each look individually, and we decided to give each model their character. There was a pink dress kimono-like dress, and he was telling me how the inspiration reminded him of a lady in Hong Kong who, before she died, found out that her husband was cheating on her, so she’s come back with vengeance, but she also looks quite elegant because the outfit is regal, but she’s coming back for revenge. As soon as I heard that, I said, “why don’t we create the perfect eye look on this model and ask her to rub her eyes as if she’s been crying?” So the eye look then becomes a print on her face. It translated so well.

How did you and Robert get connected? Was it through a mutual friend?
It was through a mutual friend, Shanina Shaik, who’s actually a supermodel and musician. She’s amazing and super lovely. She introduced us on a night out, and we just hit it off right away. From the day I met him, I’ve been a fan of everything he creates because I think his creations are so thought through. I’ve also had the privilege of wearing his clothes, and I can tell you that they feel so expensive that you don’t want to move, sit, or do anything else. They’re just so beautiful.

What are some of the biggest makeup trends right now, and what have you enjoyed the most and least?
The biggest trend right now, and one that will likely continue for a long time, is the black lip liner. The girls are really into it, especially since they’ve transitioned from chestnut to a darker, blackish shade. I absolutely love it when they pair it with a browny nude and a gloss on top. A trend that I don’t like is the hot glue gun situation, where we’re drying up the glue gun and putting pigment on it, then sticking it on the face. I see the vision, but I also believe that there are enough products out there to create that effect without using glue that’s not meant to be on your skin.

You were recently the lead makeup artist for Ahluwalia’s Fall Winter ’23 show. What are some highlights from working with Priya, and what’s your usual collaboration process with her?”
Priya is an amazing human being. One week before the show, we always have to do a test at her studio, which could take a couple of hours. We think about everything, such as the models’ facial features, complexions, and what’s best for them. We don’t want to be too loud, but we still want to make a statement. With each show, it’s either a lip focus or an eye focus with gorgeous skin as a recurring theme. I like that I get to be experimental and highlight each model’s identity even more. It’s a warm and inclusive feeling when working with Ahluwalia because everyone is included, and everything just flows. We have conversations with the stylist, hair, and nails to make sure everything works hand in hand without clashing in terms of colors. The conversation is always open and clear, making it easy to sort out the looks.

What do you consider the most critical element of your job?
I always focus on eyes. That’s why I start off with eyebrows, your eyebrows frame your face, so I make sure they look perfect. I can spend about 25 to 30 minutes just on eyebrows with any client, to be honest. Even if it’s not a natural shoot, I still spend quite a long time on brows.

Many people view makeup as a form of self-expression. What role do you think makeup plays in your life in terms of allowing you to express yourself, and how do you translate your style onto your muses?
With my makeup, I’d say my mata lip and my personality play a big role. I can be talkative and warm, so when I’m with a new client, I try to push them to do a variation of the mata lip. I always make it personal to them by using a nude color that caters to their skin tone. Most of the time, if I’m working with a new client, I have them hold a small mirror so they can see what I’m doing and why. I’m aware that some people are not used to having a bold lip, so I like to involve them in the process. The reaction is usually very beautiful when people see that they’ve got a mata lip or I’ve just finished doing a mata face. It makes them feel confident and beautiful.

You’ve worked with so many different celebrity clients like Tems, Indya Moore, and Alicia Keys. How do you adjust your approach depending on each client’s specific needs?
As I mentioned earlier, I like having a conversation with them first and seeing what they’re comfortable with. The first time I worked with each of them, I had them hold a mirror during their glam sessions and tell me everything they like and don’t like. It’s good to give people the option to be open and honest because some people can be scared to speak up. But I want to hear everything because it’s their face that will be out there, so I care about their feedback and information. I ask for everything and give them a heads-up that we might talk a lot more than usual because this is the first time. I want everything to work well and be comfortable and look perfect for them. They appreciate the level of care and respect it shows.

What are your top highlights from your career so far?
Definitely, being able to travel is one of them. I’ve been to so many places, like Qatar, Nigeria, and all over Europe. It’s such a blessing that I’m grateful for. Another highlight is the year I did makeup for Whoopi Goldberg, Kendrick Lamar, and Alicia Keys, along with many other amazing people, which will forever be iconic. Another highlight would just meeting all these people along the way, just being able to work with those different teams. If it’s in London or if it’s in LA or if it’s in anywhere, being able to do that, it’s just such a blessing.

Can you share a particularly challenging makeup project you’ve worked on and how you approached it?
A few years back, I was doing tutorials for a brand that had just come out with lip liners for darker complexions. On the day of the shoot, I received the test sample of the product, which wasn’t in the official packaging. When I was about to use it in the tutorial, I saw the name of the product and was so annoyed that I asked them to cut the cameras, and I couldn’t continue the production of the shoot. I spoke to my representative and asked them to speak to the client and let them know that the name was terrible and very insulting to Black women. First of all, the product wasn’t even dark enough; it was extremely offensive, and they made us wait so long for a product for darker skin and still didn’t get it right. It was a frustrating experience.

How do you define success in your industry, and what’s next for you in your career?
Success in my industry is being happy and enjoying what you do. If you’re doing this kind of job, it’s because you truly love it. For me, success is working on incredible projects and continuing to find the strength to do what I love. There are so many things in the pipeline, and I want people to keep the spirit of Mata Labs alive by saying her name out loud. She’s coming back, and I can’t wait.