Makeup Artist Maud Laceppe on Letting Observation Lead

Maud Laceppe, Makeup Artist

Hometown: Paris, France
Based In: New York City, New York
Representation: Home Agency

What initially drew you to beauty, and was there a defining moment that made you pursue it professionally?
I always felt a bit outside of things growing up. School wasn’t where I thrived, and I think being on the sidelines really shaped my sense of observation. My grandfather was a hairdresser and a bit of a dandy, and I think he influenced me more than I realized at the time. My mum was also a big influence. She was always fully put together, no matter what. Sometimes, the worse the day was, the sharper she looked. I understood quite early the power of how you present yourself to the world, and how much it can shift perception. I found it fascinating that something as simple as a red lip or a sharp eye could completely change how you’re perceived. Even something as subtle as the way an eyebrow is shaped can tell you so much about a person, whether they intend it or not. Makeup came quite naturally after that. It felt like a way to turn observation into something tangible.

How would you describe your work? What’s your trademark?
My work is about the balance between structure and instinct, something precise but never overworked, with a subtle tension that gives the face attitude. It comes from observing people closely, their features, and their body language. I’m interested in contrast and softness, creating something defined without feeling overworked. I often start with the brow. It frames the face and sets the tone. Even when it feels natural, it’s always intentional. I’m drawn to looks that can feel slightly unsettling, but still beautiful. It’s about creating an attitude that shifts the way someone carries themselves.

You’ve worked closely with Lorde. How does your collaboration evolve from concept to execution, and how has your dynamic grown over time?
Working with Lorde is very intuitive. It usually begins with a conversation around mood, sometimes something abstract, a feeling, or a reference. From there, I translate it onto the face, refining it through texture, placement, and restraint, always considering how it reads both up close and on stage. Over time, our dynamic has become very instinctive. There’s a real trust, so we don’t need to over-explain. We just understand where it’s going.

Are there specific materials or textures you love working with? Do you find yourself drawn to certain finishes?
I’m drawn to textures that feel alive, skin that still looks like skin, but slightly altered, without being tied to one approach. Lately, I’ve been using a very sheer blue pigment. It creates a kind of transparency and a glow that shifts depending on the skin tone. I’ve also been working with metallic foil, often distressed so it catches the light in a more irregular way. I mostly use my fingers. It feels more tactile and intimate, like the makeup is applied by touch rather than brush. It’s intentionally diffused and a bit uneven. The shine is fragmented, catching the light rather than being uniform. I like finishes that sit between matte and luminous, controlled but still breathable, especially on stage. I tend to go through small obsessions with materials or textures, then move on to something completely different, sometimes even the opposite. It’s always shifting. I follow what feels right in the moment.

Given your experience creating makeup looks for tours, how do you approach longevity and ensure looks hold up under the demands of touring?
It was actually my first time working on a tour, which shifted the way I approach things. It made me think more about longevity, how makeup reacts to heat, movement, and lighting. It pushed me to be more technical without losing the feel of the skin. I try to keep the skin breathable but controlled, building in layers so it holds without feeling heavy, and making sure it reads clearly both on stage and up close. Each leg becomes a kind of ongoing research. I adjust, refine, and bring something new each time.

What’s your process for conceptualizing a look? Do you start with references, emotions, or something else entirely?
It usually starts with gathering ideas, images, or references that feel right, often coming from a conversation or an initial feeling. It’s also very collaborative. I take into account the approach of everyone involved, the stylist setting the tone through the story they want to tell, the photographer’s eye and their sensitivity to makeup, and working closely with the hairstylist as a real duo. From there, I focus on who I’m working with, their personality, their style, their bone structure, and their energy. After observing all of that, I study the face more closely and start building intuitively, placing texture, adjusting, and sometimes removing. It’s quite instinctive. I let the face guide how far to push it and where to hold back.

What non-fashion influences (art, film, literature, music, etc.) shape your creative perspective?
This Is England and L’Enfer really stayed with me, in very different ways.This is England for its rawness, the way nothing feels overworked, everything is about presence and identity. And L’Enfer, especially Henri-Georges Clouzot’s original vision, for the opposite reason: the way the face becomes unstable, shaped by light, perception, and tension. Both made me think about how subtle changes can completely transform how a face is read, which is something I’m very interested in doing in my work.

What’s something outside of your work that you would like people to know about you?
I spend a lot of time observing small details in everyday life, probably more than necessary. It keeps everything quite sharp. I’m very sensitive to fragrance. I notice it immediately, and it tells me a lot about the person I’m in the room with.

Who do you think is one to watch?
I’m excited to see what my friend Sam Penn builds next. She’s an incredibly talented photographer. We met through Lorde on tour. I’m very interested in the way she blurs the line between something very personal and the image itself. The body becomes very close, almost tactile. It’s intimate but not romanticized, which I connect to a lot.

Selected Work

Lorde, backstage at the Ultrasound World Tour in Christchurch, New Zealand
This image holds that sense of stillness before everything unfolds, where texture and placement become their own statement. It reflects how much I value subtle gestures and how they can carry as much impact as something more overt, which continues to shape how I approach beauty.

Maria Keidj for Puss Puss Magazine
This selection comes from a really exciting and inspiring moment on set. I was so influenced by the energy of the team, and especially by Maria Keidj’s beauty guided the direction of the look. It reflects my interest in pushing beauty into something slightly unsettling but still beautiful.

Personal project
This image comes from a personal project where I wanted to step outside my comfort zone and explore something unfamiliar. I used sugar instead of makeup, creating textures that don’t really exist within traditional makeup, which shifted the way I think about it. Working on personal projects like this is essential to me. It keeps my work moving forward and evolving beyond what I already know.

Beauty for Whatevr Magazine
This series was really exciting to work on because each girl brought something very different, which pushed me to approach them in opposite ways. Each look is very different in its outcome, but a sense of comfort connects them within something slightly uncomfortable, something a bit disturbing yet still beautiful.

Lorde Covers
This series of covers with Lorde feels very special to me because it marked the beginning of our relationship, before I had any idea of where it would lead. A different photographer shaped each shoot, and while the makeup remained raw, I approached it differently each time. It reflects a moment of building something together, both creatively and personally.