Makeup Artist Yumi Lee Is Drawn Towards Radiant Finishes

Behind the Image is an ongoing MODELS.com series taking a more personal look at both established and emerging creative talent.

Yumi Lee, Makeup Artist

Hometown: Seoul, South Korea
Based: New York
Representation: Streeters

How would you describe your work? What’s your trademark?
Balance is a word that often comes to mind when I work. I’m constantly striving to find it—whether I’m refining the details of the eyelashes or stepping back to make sure the texture is dialed in. I like to think of my process as a balance between simplicity, boldness, and finding unexpected ways to express elegance. My hope is that the attention I give to these subtleties shines through in the images I help create.

How did you first discover your passion for makeup? Was there a specific moment that made you realize this was your career path?
As a teenager, I was obsessed with flipping through old fashion magazines, and I was naturally drawn to backstage beauty and editorial makeup. I dreamed of using faces as my canvas, fascinated by how each person’s unique features could be expressed in so many ways. Once I started practicing on my friends, I knew I would never get bored doing makeup.

I read that you began your career as a makeup artist in Korea and later assisted Stéphane Marais early on. What influenced your decision to move to the U.S., and how did your connection with Stéphane come about? What was the turning point that inspired you to venture out independently?
I originally came to New York for a long personal vacation, but I have been living in NYC for almost seventeen years now. After about a year of simply living in the city and burning through my savings, I was motivated to look for new work experiences. I had no idea how to start, so I did a lot of work for free, finding gigs on Craigslist. Looking back, I put myself in some sketchy situations a few times, so I’m thankful to have made it through that period okay. Despite that, I still didn’t make any meaningful connections, so I reached out to many agencies with my portfolio. Luckily, I signed with one of them and was able to obtain a visa and slowly start getting work. One day, I got an email from an agency I had interviewed with, asking if I was interested in stepping in to work with Stéphane Marais. I was beside myself because he had been one of my role models since I first started in makeup in Korea. He was an inspirational figure. Fortunately, the first day went really well, and from then on, I continued working with him as a first assistant. Those three years working with Stéphane were invaluable to me. I gained a lot of technical insight, and being present on set with him gave me firsthand exposure to the industry at a high level. Despite my poor English, he was patient, kind, and encouraged me to be confident and grow as an artist. After several years, Stéphane moved back to Paris, so naturally, I started venturing out on my own.

What’s your process for conceptualizing a look? Do you start with references, color palettes, emotions, or something else entirely?
It depends on each shoot. Usually, there are themes, concepts, or references provided by the client, which I use as a starting point. I try to understand what we’re aiming for and gather extensive makeup references relevant to the job. Considering the mood, clothing, and the model’s features, I collect ideas that I can adapt to makeup. Photographs, paintings, lighting, designs, or nature—anything can be a source of creativity. One thing to watch out for in this process is identifying overused ideas and finding ways to move away from them. Once we’re on set, I trust my instincts to improvise and create something that flows with the moment.

Are there specific materials or textures you love working with? Do you find yourself drawn to certain finishes?
It varies depending on the look, but in general, I alternate between radiant and organic finishes. For a radiant finish, I rely on a blend of liquid or cream shimmer to enhance the glow. It’s important to pay attention to the lighting and adjust as needed to achieve a shiny, dewy texture. For a raw, organic finish, I prefer highlighting the model’s actual skin texture. To achieve a more natural application, I find that using my fingers is especially effective, particularly with eye and lip colors.

What have you watched/heard/read lately that has inspired you?
1. A few times every year, when I’m in the right mood, I listen to Lou Reed’s Transformer album from beginning to end. It’s a masterpiece, and it captures my attitude and affinity for living in NYC.

2. I recently went to Brazil for a job, and since then, I’ve been enjoying a lot of Bossa Nova playlists. Some of it is definitely muzak (i.e., soothing and calming background music), but it’s perfect for the background, and it helps me relax.

3. I read The War of Art by Steven Pressfield multiple times. The book’s message is super motivating and really helped me stay disciplined and focused on my art. I highly recommend it to anyone pursuing creative endeavors.

What’s one thing outside of your work that you would like people to know about you?
I love spending time in nature, especially hiking with my dog. I’ve also been taking boxing classes, which are a super fun way to do cardio. It’s invigorating to exercise in ways I’m not used to.

What advice would you give to aspiring makeup artists looking to break into the industry?
Makeup isn’t something you can do alone. Teamwork and having the flexibility to collaborate with others is crucial. Being punctual and maintaining a respectful, professional attitude can go a long way.

What’s something about your job that still excites you after all these years?
I love that my job lets me work with new people from diverse backgrounds on every shoot. The variety of concepts, clothes, and models continually challenge me in new ways. It’s always exciting to apply makeup to different faces as each model’s unique features bring something fresh and new. Opportunities for travel are also a plus.

Selected Work

SSAW Magazine 132 Studio
I love the way it was cropped to highlight all the details of the eye makeup. I had creative freedom for some looks, so I crafted eyelashes using paper and yarn, combining them together. I’m glad the texture turned out interesting. I like how the eyelashes and eyeshadow colors enhance each other.

American Vogue April 2022 Cover
This was my first American Vogue cover. When I started out as a makeup artist, I never imagined I would get to work on something like this. It’s very special to me, and I’m grateful to have been part of this shoot.

Vogue China Beauty ‘Body of work’
There were so many great images from this shoot that it was difficult to pick one. I wanted Grace to have a fairytale-inspired look, and she was great at getting into character. She was like a ballet dancer performing on stage, so I approached the makeup on the face and body in a painterly manner.

Marfa Journal Magazine SS 2024
Zora liked one of the makeup looks I created previously, so I was encouraged to try a bold color for the eyelashes. Overall, I appreciate this image because it captures the rawness and radiance of the skin texture. It’s also meaningful to me because other clients continue to use it as a makeup reference.

Re-Edition Magazine S/S 21
This started as a no-makeup concept, but Amy gave me an opportunity to experiment, so I quickly executed this graphic shape. I love the contrast between the spikes under the eyes and the model’s odd, playful expression.