Known for his innovative and textural approach to classic beauty, German makeup artist Patrick Glatthaar has captivated the industry with his remarkable talent. Initially starting his journey as a hairdresser, Glatthaar transitioned serendipitously into makeup fueled by a blend of artistic passion, creative curiosity, and a little push from his peers. Inspired by the vibrant aesthetics of the 1980s and the boundless beauty of nature, Glatthaar’s work seamlessly merges classic elegance with a tinge of avant-garde flair, making him a sought-after collaborator of rising names in photography like Vito Fernicola, Jonas Lindstroem, Davit Giorgadze, and Tanya + Zhenya Posternak.
Glatthaar’s career trajectory is evidence of the power of organic growth and hands-on experience. Forging his path without formally assisting, he honed his skills through collaborations with friends and an unwavering commitment to learning by doing. Dynamic partnerships with creatives like Marc Goehring and Imruh Asha have produced some of his most notable work. Whether crafting ethereal, glittering masterpieces for runway shows or achieving timeless, glowing beauty in editorial, Glatthaar’s artistry pushes the boundaries of conventional beauty, establishing him as a true visionary in the makeup industry. Models.com spoke to him about his favorite moments, how family and friends drew him to switch to makeup, and his advice for those wanting to get started in beauty.
What drew you to beauty early on when you were growing up? Did you have any eras that inspired you, or are things more organic when you’re creating?
I started in Vienna, Austria. I’m German and was a hairdresser before, but I began makeup with friends and it started from there. Friends asked me, “Hey, you want to do the makeup for my lookbook?” I said, “I’m a hairdresser, so I don’t know, but let’s try it.” I really loved it, so I switched from hair to makeup after. I loved the eighties and all the crazy makeup. It was more like art color-wise, and nothing was too much. I also take pictures of the sky or from exhibitions and get my inspiration from there as well.
You had that initial interest in beauty. Were you connected to any visuals in magazines or movies that drew you to beauty growing up?
Yes. It was more magazines — old Vogues were what I was looking at because back in the days when I just started, there was no Instagram. It was more magazines where I pulled ideas and references from.
Did you ever assist to get more experience?
I never assisted. I had a friend who was a photographer, and we were shooting friends and girlfriends, did portraits, and then I started from there. I learned by doing, and I did a lot on my own. I have three sisters, so I also saw a lot from them, and they used a lot of makeup. They show what products they use. Of course, you cannot be so diverse in every range, but I think I learned a lot from them initially. I moved out quite early, so it was more my friends who asked me to do their makeup for parties or when they went on dates. For me, growth came more from doing it on the job and through test shooting. I was reaching out and had a few friends who were makeup artists, who also showed me things.
Who are some of your favorite collaborators?
For me, I love Marc Goehring. He’s a great friend of mine and a stylist. When I work with him, we talk about it and since we are really good friends, we can do something creative and big. Vito Fernicola is amazing and I love him a lot. Bruno Staub is a favorite. A new photographer who I admire for beauty is Kévin Drelon. I love to work with him because they’re understanding and I think it’s nice if you have a pleasant, fun energy on set. I believe that it’s essential for me to have a good environment. There has to be a lot of trust
Beauty, like so many things, has an ever-changing definition. What do you find yourself drawn to beauty-wise that you like to create constantly?
I had a phase where I really loved glitter and rhinestones. Right now, I try to be more classic. I like to have great skin, great glow, beautiful lips, and beautiful fake lashes. I think I gravitate more towards classic beauty. Of course, from time to time, I’m doing something more creative, but I’m into classic beauty right now.
Did you have any favorite makeup moments that you’ve created in the past year?
I love to do shows because I can always be crazier than usual and I love this one David Koma show where I did a double lip. Underneath was all rhinestones and on top was a glossy red. Another one I did for Kevin Germanier’s show was a cool makeup look where outside of the face was matte and the inner side was a glossy circle – it was really beautiful. Over the years, I put together a terrific team that I trust and I love it that it’s stressful for hours, and then you see the result and you’re like, “I love it.” I think this gives such an unrelenting rush.
Do you have any favorite models and muses that you like to collaborate with, and what qualities make them stand out to you?
I love a fun girl. It’s great when they are fun and nice on the job. Everybody puts their energy into the final product. I recently worked with Irina Shayk, Anok Yai, Amelia Gray, and Bibi Breslin. I love them because they’re so into it. They trust you and also they’re professional.
How do you challenge yourself in your artistry and professional work?
As for me, I’m super open to trying new things. Of course, you have to see what clients you have, but I’m challenging myself to work with different products and teams and then brainstorm how to bring it all together. I think this is a process for everybody. Every season, I go to a brand, and they tell me, “Hey, we have this. This is our moodboard.” Then I have to find something that can fit – my brainstorming process starts and challenges me to get an even better outcome than last time.
Do you remember the craziest, impromptu situation that you’ve ever had to navigate on a job, and how did you deal with it?
Oh, yes it was on a shoot where I flew from Portugal to Naples. I was shooting with Vito for a Vogue Italia story with Imruh Asha and the airline lost all my bags. They were gone forever and I never got them back. It was horrible. But at this point, I thought, “Fuck. It’s Sunday in Italy. What should I go to in Naples?” There were some makeup stores open and I collected whatever came into my hands.
Looking back at some of the shoots that you’ve done, what moments have really stood out as special or defining in your career?
For me, I think the travel I’ve taken has been defining. For my first shoot I went to South Africa, and it was incredibly beautiful. Then I went to the Atacama Desert for a Hermès Perfume campaign with Jonas [Lindstroem]. It was so impressive. We were there for six days with a big team. It was such an amazing time there.
Other people would say, “Oh, I assisted someone. I went to school,” but you didn’t have that path. Would you have any advice for anyone who would want to become a makeup artist? What would you probably suggest that they do if they wanted to get their foot in the game?
If you don’t have any connection to makeup or the fashion world, I think it’s good to maybe go to one school just to get the knowledge and products to build up. However, and this is what I also tell my assistants, it’s better if you assist because then you are on the frontlines. Sometimes if you do too much schooling, I think it brands you as well. They do the lip like this, so you do the lip like this. They put on the foundation like this, so you put on the foundation like this. It’s hard to get out your own signature. There are different paths but for me it was better this way because then I could do more of what I wanted to do.
