{"id":167318,"date":"2025-06-18T12:15:31","date_gmt":"2025-06-18T16:15:31","guid":{"rendered":"https:\/\/models.com\/oftheminute\/?p=167318"},"modified":"2025-06-18T18:43:47","modified_gmt":"2025-06-18T22:43:47","slug":"makeup-artist-fulvia-farolfi-on-beauty-beyond-the-edit","status":"publish","type":"post","link":"https:\/\/models.com\/oftheminute\/?p=167318","title":{"rendered":"Makeup Artist Fulvia Farolfi on Beauty Beyond the Edit"},"content":{"rendered":"<style>\n.centerimg {padding:4em 7em;margin:20px 0;}\n.centerimg2 {padding:4em 4em;margin:20px 0;}\n.centerimg3 {padding:4em 3em;margin:20px 0;}\n.sidetxt {padding:16em 2em 16em 2em;;margin:20px 0;}\n.centerimg img {margin-bottom:0px;}\n.instagram-media {margin:auto !important;}\n#wp-content hr {margin: 40px auto 80px auto;width: 80%;}\n<\/style>\n<div class=\"centerimg\">\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i.mdel.net\/oftheminute\/images\/2025\/06\/updated-image-amber-.jpg\" alt=\"\" width=\"773\" height=\"836\" class=\"alignnone size-full wp-image-167335\" \/><br \/>\n<small> Amber Valletta by Peter Lindbergh | Image courtesy of MA + Group<\/small>\n<\/div>\n<p>A longtime industry veteran, make-up artist <a href=\"\/\/models.com\/people\/fulvia-farolfi\">Fulvia Farolfi<\/a> grew up a teenager more focused on sports than beauty, but creative curiosity tugged at her. Whether it was the shimmer of her gym teacher\u2019s eyeliner or the rows of pigments in her neighbor\u2019s makeshift salon upstairs, her interest was piqued from those early days. The turning point came when she encountered <a href=\"https:\/\/www.artic.edu\/artworks\/144848\/contact-lens-new-york\" rel=\"noopener\" target=\"_blank\">Irving Penn\u2019s iconic Contact Lens photograph<\/a>. Something about the intimacy and precision of that image stayed with her, leading her to trade science studies for beauty school in Milan. Eventually, Farolfi moved to New York with a singular mission: to work with the photographer who first sparked her path. After weeks of persistence and one fateful call to his studio, she got her chance. Years later, when she shared the story behind her journey, Penn told her, \u201cYou thanked me back today with your work.\u201d Since then, she\u2019s carved out a lasting space in the beauty world, collaborating with some of fashion\u2019s top photographers\u2014<a href=\"\/\/models.com\/people\/peter-lindbergh\">Peter Lindbergh<\/a>, <a href=\"\/\/models.com\/people\/Inez-van-Lamsweerde-and-Vinoodh-Matadin\">Inez and Vinoodh<\/a>, and stylist <a href=\"\/\/models.com\/people\/tonne-goodman\">Tonne Goodman<\/a> among them\u2014and serving as <a href=\"https:\/\/models.com\/client\/chanel-beauty\" rel=\"noopener\" target=\"_blank\">Chanel\u2019s<\/a> U.S. beauty ambassador since 2010. One longtime dream also came full circle when she was tapped as lead makeup artist for the<a href=\"https:\/\/models.com\/work\/pirelli-calendar-pirelli-2025-calendar\" rel=\"noopener\" target=\"_blank\"> 2025 Pirelli Calendar<\/a>, shot by <a href=\"\/\/models.com\/people\/Ethan-James-Green\">Ethan James Green<\/a>. \u201cWe all agreed, Ethan, Tonne, and I\u2014that beauty, in this context, meant comfort in your own skin,\u201d she said. \u201cIt felt fresh, modern, and real. I was genuinely honored to be part of it.\u201d Fresh off leading makeup for <a href=\"https:\/\/models.com\/work\/max-mara-max-mara-resort-2026-caserta\" rel=\"noopener\" target=\"_blank\">Max Mara\u2019s Resort 2026 show in Caserta<\/a>, Farolfi sat down with Models.com to reflect on the power of beauty, the elegance of imperfection, and the wildest moments she\u2019s navigated on the job.<\/p>\n<div class=\"centerimg\">\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i.mdel.net\/oftheminute\/images\/2025\/06\/375831210_18391185085061769_2717755475249945976_n.jpg\" alt=\"\" width=\"1080\" height=\"1265\" class=\"alignnone size-full wp-image-167327\" \/><br \/>\n<small> Linda Evangelista by Robin Galiegue  | Image courtesy of MA + Group<\/small>\n<\/div>\n<p><strong>What was your relationship to beauty growing up? I know you were really into sports. How did that shift into beauty?<\/strong><br \/>\nI think I\u2019ve been interested in beauty since my teenage years. We had a neighbor in our apartment building who was a beautician. She did waxing and had all these products and color palettes. I never did make up with her, but I was fascinated by it. Then I started experimenting with my mom\u2019s products. I remember using this toner from Est\u00e9e Lauder, probably packed with alcohol\u2014and thinking, &#8220;Whoa.&#8221; I started noticing the effects of beauty products. I was studying science at the time, and when I decided to go to beauty school, my parents and friends were shocked. I thought, &#8220;Why not give it a try?&#8221; I ended up loving it, I\u2019d watch people on the street, and I was just really curious. I bought my first eyeshadow palette from this brand, Diva, and when I saw an  Italian Vogue cover originally published in American Vogue, I knew that this was what I wanted to do. It was that famous <a href=\"https:\/\/www.artic.edu\/artworks\/144848\/contact-lens-new-york\" rel=\"noopener\" target=\"_blank\">photo<\/a> by Irving Penn of a model putting in contact lenses<\/a>. The article was about colored lenses, but what struck me was how the makeup transformed the close-up; that\u2019s when Penn became my idol.<\/p>\n<p><strong>After beauty school, did you move to New York?<\/strong><br \/>\nI actually moved to Milan to go to makeup school first. Out of 90 students, I graduated top of the class, and they asked me to teach for a year. We studied everything\u2014special effects, costume makeup, art history, and the meaning of makeup through the ages. We also learned what they called &#8220;corrective makeup&#8221; at the time, which is what people now call enhancement or sculpting, making eyes appear larger, defining features, that kind of thing. While teaching, I started freelancing. I tried one film job, but after three months and only two looks, I knew I\u2019d get bored. That\u2019s when I decided to pursue fashion instead. I still remember my early shoots in Milan\u2014working with <a href=\"\/\/models.com\/people\/andre-leon-talley\">Andr\u00e9 Leon Talley<\/a>, who was editing House &#038; Garden when <a href=\"\/\/models.com\/people\/anna-wintour\">Anna Wintour<\/a> was editor-in-chief, and <a href=\"\/\/models.com\/people\/patrick-demarchelier\">Patrick Demarchelier<\/a> shooting. That excitement made me want to try New York. Four years later, I moved there with just my portfolio. I thought I\u2019d stay a month\u2026I never left.<\/p>\n<p><strong>I know Irving Penn was a huge inspiration for you. What was the process of meeting and working with him like?<\/strong><br \/>\nI came to New York with a list of photographers and agencies, but it was August 1989, and the whole industry had shut down for the summer. One agency wanted to sign me immediately, but something didn\u2019t feel right. Another told me to come back in September once shows started up again. Almost a month in, I called Mr. Penn\u2019s office. His assistant told me, \u201cMr. Penn doesn\u2019t see portfolios. That\u2019s not how it works. Call back in two weeks and send your card.\u201d I called again a few weeks later. This time, his studio manager picked up and gave me the same line. I explained I didn\u2019t want to bother him, I just wanted him to see my work. After about ten minutes, she said, \u201cFine\u2014drop off your book tonight and come back in the morning.\u201d When I returned, she said, \u201cMr. Penn loved your work. He\u2019s in a meeting now.\u201d We sat and talked, and I explained my background. I had worked with a well-known Italian photographer who shot beauty with zero retouching, using a Hasselblad. I didn\u2019t have covers or fame, but the technical work and beauty were there. The studio then arranged a meeting for me with Maggie Buckley, the casting director at American Vogue. After reviewing my book, she picked up the phone and called Bryan Bantry, who was the biggest agent in New York at the time. She said, \u201cSomeone from Irving Penn\u2019s studio is here. I think you should meet her.\u201d Just like that, I got my agent. All within two months of moving.<\/p>\n<div class=\"centerimg\">\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i.mdel.net\/oftheminute\/images\/2025\/06\/FF_Beauty_094-1.jpg\" alt=\"\" width=\"788\" height=\"1024\" class=\"alignnone size-full wp-image-167322\" \/><br \/>\n<small>By Raymond Meier | Image courtesy of MA + Group<\/small>\n<\/div>\n<p><strong>When did you actually work with Penn?<\/strong><br \/>\nNot for a few years. I needed to grow first. I was used to working with Italian editors and photographers, but I had to adjust to the language, the references, and the culture here. After about six months, I met a group of creatives who had recently moved from Milan to New York, like Fabien Baron and a few stylists. We were connected through my old agent. From there, I started meeting major names like Isabella Rossellini and art directors for Est\u00e9e Lauder and Lanc\u00f4me. I finally understood the vocabulary and beauty references that were expected. When I met Penn, he didn\u2019t put me to work right away. First, he just wanted to observe me in the studio. No music, no distractions\u2014just silence. He shot a photo with two girls, one in a lime wig, the other in orange, talking to each other. You couldn\u2019t even see their faces. He just wanted to see how I behaved on set. The second time, I actually worked. We did a white base with chunks of color. I hadn\u2019t done a white face since makeup school. It was sink or swim. For me, it felt like stepping on stage\u2014I had to perform. He would come two inches behind me to inspect the work. Once he said, \u201cNot too perfect, Michelangelo,\u201d because he liked a bit of mess. He was an incredible character. I heard he made people cry, but only if they weren\u2019t good. If you weren\u2019t talented, you simply didn\u2019t belong. It was brutal, but that was the \u201880s and \u201890s. After five shoots, when I felt I had proved myself, I told him the story of the photo that inspired me\u2014 the one of the model putting in a contact lens, and he said, \u201cYou thanked me back today with your work.\u201d<\/p>\n<p><strong>Who were your beauty idols growing up, and what made them stand out to you?<\/strong><br \/>\nOne of my earliest memories is my high school gym teacher\u2014she wore this shiny eyeliner that fascinated me. To this day, I wish I had asked her what brand it was. I think it was Shiseido, an old packaging maybe. It was liquid and stayed shiny, which is so rare. I\u2019ve still never found anything quite like it. I\u2019ve always been drawn to details like that. I love street trends and period makeup, whether it was Sophia Loren, Catherine Deneuve, Audrey Hepburn, or Barbra Streisand. It was so interesting to see how makeup evolved and reflected women\u2019s roles in society. That\u2019s something we even studied in school. But what inspires me most is what I see on the streets and in art. That\u2019s where the real magic is for me.<\/p>\n<p><strong>Are there specific paintings that still inspire you today?<\/strong><br \/>\nPicasso has always been a huge influence. I love shapes and color, and how versatile and expressive his work is. I also appreciate the precision of Ren\u00e9 Magritte, but equally, the imperfection in Picasso\u2019s work. They\u2019re both moving in different ways. To me, when makeup is done well, it\u2019s like sculpture; it draws you in. It becomes a work of art. The best feeling is when someone says, \u201cOh my God, I\u2019ve never felt so beautiful.\u201d That\u2019s the real reward. I remember working with Serena Williams maybe 15 years ago. She sent me the kindest note afterward. Moments like that\u2014those are the things that really stay with you.<\/p>\n<div class=\"centerimg\">\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i.mdel.net\/oftheminute\/images\/2025\/06\/Pirelli-Calendar.jpeg\" alt=\"\" width=\"1080\" height=\"1079\" class=\"alignnone size-full wp-image-167323\" \/><br \/>\n<small> Hunter Schafer by Ethan James Green | Image courtesy of MA + Group<\/small>\n<\/div>\n<p><strong>How did it feel to work on your first-ever <a href=\"https:\/\/models.com\/work\/pirelli-calendar-pirelli-2025-calendar\" rel=\"noopener\" target=\"_blank\">Pirelli calendar<\/a>, and how did you collaborate with <a href=\"\/\/models.com\/people\/Ethan-James-Green\">Ethan James Green<\/a> &#038; <a href=\"\/\/models.com\/people\/tonne-goodman\">Tonne Goodman<\/a> to bring the looks to life?<\/strong><br \/>\nI had just signed with my agent, Andy, maybe two months earlier. We were brainstorming about dream clients and projects, and I said, \u201cYou know what? One thing I\u2019d love to do is the Pirelli calendar.\u201d It\u2019s iconic. I\u2019ve always loved working on makeup that\u2019s sexy and empowering, when a woman feels truly at her best. And then, three weeks later, the call came. I couldn\u2019t believe it. It really felt like a manifestation moment. The team was incredible, Tonne Goodman styled it, and Ethan James Green photographed it. We all agreed that beauty, in this context, meant comfort in your own skin. There were two settings: one in the studio, one on the beach. Sometimes, the beach was the more sultry environment, and other times, it was the studio; it really depended on the energy. I loved the cast. The clients were a little nervous at first, but by the end, everyone had embraced it. It felt fresh, modern, and real. I was genuinely honored to be part of it.<\/p>\n<p><strong>You became <a href=\"https:\/\/models.com\/client\/chanel-beauty\" rel=\"noopener\" target=\"_blank\">Chanel\u2019s<\/a> U.S. beauty ambassador in 2010. Can you describe your relationship with Chanel and how you collaborate with them?<\/strong><br \/>\nI think it happened through word of mouth. There were five of us in the running\u2014four artists based in LA and me in New York. I believe they really responded to my editorial work and the way I would reference products in my shoots. From there, I started presenting collections to beauty editors in New York and attending the shows. Those were some really thrilling years. We went to some incredible shows by <a href=\"\/\/models.com\/people\/karl-lagerfeld\">Karl Lagerfeld<\/a>, and I am looking forward to the new chapter with <a href=\"\/\/models.com\/people\/matthieu-blazy\">Matthieu Blazy<\/a>. Now, we do tutorials a few times a year, which is a lot of fun, sometimes with celebrities, sometimes with models. Technique-wise, my original teacher from back in the day was incredibly precise\u2014ten times more so than anyone I\u2019ve encountered since. I\u2019m grateful for that foundation. But over time, I\u2019ve let go of certain rules and made the techniques my own. You can\u2019t stay stuck in one era, or it starts to look dated. Still, having that base has been invaluable.<\/p>\n<p><strong>So you&#8217;re saying you\u2019ve taken those classic skills and evolved them into something personal. With Chanel, do you also help with product development or provide feedback?<\/strong><br \/>\nYes, definitely feedback. One of the great things is that we sometimes have conference calls with the other artists\u2014there are more than five of us now\u2014and we share thoughts on products. One example is the Les Beiges bronzer. It originally came in one big jar and was super orange. We all pushed for more inclusive shades, and now they\u2019ve released three, which is a big improvement. We also regularly advocate for more neutral lip colors. The market often prefers pinks and reds, but from an artist\u2019s perspective, we\u2019re always hoping for more balance. It\u2019s a collaboration; our feedback helps guide the product range, though final decisions are made by the main team in France. The three artists there develop the core collections, and we serve as the U.S. ambassadors.<\/p>\n<div class=\"centerimg\">\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i.mdel.net\/oftheminute\/images\/2025\/06\/FF_Cover_W_JessicaChastain-1.jpg\" alt=\"\" width=\"787\" height=\"1024\" class=\"alignnone size-full wp-image-167324\" \/><br \/>\n<small> Jessica Chastain by Max Vadukul | Image courtesy of MA + Group<\/small>\n<\/div>\n<p><strong>What\u2019s the craziest impromptu situation you\u2019ve had to navigate on a job, and how did you handle it?<\/strong><br \/>\nI\u2019ve done makeup on a private plane while it was landing. I\u2019ve had to rebuild an entire kit in a shopping mall in Sardinia in 20 minutes after the airline lost mine. I\u2019ve worked in the Amazon, on glaciers in Patagonia, on a mountaintop in Switzerland, and on a frozen lake near the North Pole. I was lucky in Sardinia, I knew the area, so I had a sense of where I could find things quickly. It was a five-day job, and my bags didn\u2019t arrive until day three. I built a makeshift kit with a range of foundations based on the models we were working with and just made it work.<br \/>\nAnother time, we were shooting in Ghana with <a href=\"\/\/models.com\/models\/Naomi-Campbell\">Naomi Campbell<\/a> and <a href=\"\/\/models.com\/people\/edward-enninful\">Edward Enninful<\/a>. At the end of the shoot, we were surrounded by what we thought was the police. It was on a university campus, and it was intense; even Naomi was nervous. They demanded the film, but of course, it wasn\u2019t developed yet. It took us about 30 minutes to realize they weren\u2019t real police but campus security. They wanted all the photos, which the assistants managed to hand over. Looking back, it wasn\u2019t about money or corruption\u2014it felt more like a power play. Then there are the elements. I\u2019ve been caught in windstorms in the desert and skated across a frozen lake to do touch-ups. At the end of the day, you just adapt. <\/p>\n<blockquote><p>&#8220;The pursuit of perfection has become dominant, but perfection isn\u2019t always the most interesting thing\u2026.You can find inspiration in so-called imperfections, too.&#8221;<\/p><\/blockquote>\n<p><strong>Having been in the industry since the \u201890s, how have you seen it evolve? What are the main shifts you&#8217;ve observed, and are there any specific trends or changes that stand out to you?<\/strong><br \/>\n\u200b\u200bThe pace has changed dramatically. When I started, there was the luxury of time. Photographers like Penn would sketch the concept first, then take a month to cast, and only shoot once everything felt right. If one thing was off, he\u2019d send everyone home. No compromise. It was the same with Newton, Avedon, Hiro; there was this patience, this reverence for the process. After the 2007 financial crisis, everything sped up. Fewer people were buying magazines, and suddenly, the number of images needed per day multiplied. References became a shortcut for teams who didn\u2019t always have the knowledge or shared language. In terms of beauty, social media, especially TikTok has completely changed trends. The pursuit of perfection has become dominant. If a brow isn\u2019t flawless, people feel like it\u2019s wrong. Everything\u2019s about symmetry, sharp lines, precision. And that\u2019s fine, but perfection isn\u2019t always the most interesting thing. What works for one face may not work for another, and not everyone knows how to see that. You can find inspiration in so-called imperfections, too.<\/p>\n<div class=\"centerimg\">\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i.mdel.net\/oftheminute\/images\/2025\/06\/VO0225_SocialCover_models_R21.jpg\" alt=\"\" width=\"2240\" height=\"2800\" class=\"alignnone size-full wp-image-167326\" \/><br \/>\n<small> Amelia Gray, Angelina Kendall, Anok Yai, Devyn Garcia, Loli Bahia, Lulu Tenney, Vittoria Ceretti, by Inez and Vinoodh | Image courtesy of MA + Group<\/small>\n<\/div>\n<p><strong>After all these years, what\u2019s something about your job that still excites you?<\/strong><br \/>\nMeeting new talent. A new face, a surprising photographer\u2014it always excites me. I\u2019m a sucker for talent. When I see it, I light up.<\/p>\n<p><strong>As someone with so much experience, what advice would you give to young makeup artists trying to break into the industry?<\/strong><br \/>\nFollow your instincts. There\u2019s no single path in this business. For me, it was editorial, then advertising, then fashion. But I always say: take your time. Don\u2019t rush into working with a big-name photographer before you&#8217;re ready. It\u2019s better to build slowly so you have the skills and experience to back it up. That\u2019s what gives you longevity. I designed color for Shiseido for five years and would go to Japan often in the early 2000s. I also worked with L\u2019Or\u00e9al in Paris for Emporio Armani. Product development is another passion of mine, another way to channel creativity. What I notice today is that many young artists think like business people right away\u2014and some do it brilliantly. I\u2019m not wired that way. I work from the heart. I do fine, but I\u2019ve always known my limits, and that\u2019s okay. I\u2019ve focused on other parts of life too. If you\u2019re like me, surround yourself with people who can fill in the gaps\u2014a great accountant, a great lawyer. And if you\u2019re someone like <a href=\"\/\/models.com\/people\/pat-mcgrath\">Pat McGrath<\/a>, who is both incredibly creative and business-savvy? Amazing. But even if you\u2019re not, knowing your strengths and building the right team can take you far.<\/p>\n<div class=\"centerimg\">\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i.mdel.net\/oftheminute\/images\/2025\/06\/fulvia-updated-.jpg\" alt=\"\" width=\"500\" height=\"540\" class=\"alignnone size-full wp-image-167331\" \/><br \/>\n<small> <a href=\"\/\/models.com\/people\/fulvia-farolfi\">Fulvia Farolfi<\/a> | Image courtesy of MA + Group<\/small>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Amber Valletta by Peter Lindbergh | Image courtesy of MA + Group A longtime industry veteran, make-up artist Fulvia Farolfi grew up a teenager more focused on sports than beauty, but creative curiosity tugged at her. Whether it was the shimmer of her gym teacher\u2019s eyeliner or the rows of pigments in her neighbor\u2019s makeshift&hellip;<\/p>\n","protected":false},"author":450,"featured_media":167331,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6476,10414,16,13943],"tags":[12930,4294,8705],"_links":{"self":[{"href":"https:\/\/models.com\/oftheminute\/index.php?rest_route=\/wp\/v2\/posts\/167318"}],"collection":[{"href":"https:\/\/models.com\/oftheminute\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/models.com\/oftheminute\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/models.com\/oftheminute\/index.php?rest_route=\/wp\/v2\/users\/450"}],"replies":[{"embeddable":true,"href":"https:\/\/models.com\/oftheminute\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=167318"}],"version-history":[{"count":24,"href":"https:\/\/models.com\/oftheminute\/index.php?rest_route=\/wp\/v2\/posts\/167318\/revisions"}],"predecessor-version":[{"id":167353,"href":"https:\/\/models.com\/oftheminute\/index.php?rest_route=\/wp\/v2\/posts\/167318\/revisions\/167353"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/models.com\/oftheminute\/index.php?rest_route=\/wp\/v2\/media\/167331"}],"wp:attachment":[{"href":"https:\/\/models.com\/oftheminute\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=167318"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/models.com\/oftheminute\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=167318"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/models.com\/oftheminute\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=167318"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}