The FMC Spotlight: Ryn Maiorana

There is a particular job in entertainment that is overlooked by many until Halloween. Often, when we sit down to watch our favorite films or television shows or lock our doors before heading to watch theatre, we aren't thinking about what the hair & makeup department will do. This is mainly because the artists aim to create work that can go unnoticed. Whether they are painting details for a contemporary scene or building prosthetics or other special effects needed in a more fantastic setting, their skill is judged by its ability to blend into the world around it. For Ryn Maiorana, however, it was something that always caught their eye.

With special effects hair and makeup, Ryn found they could combine their love of art, painting, and horror. Even before attending University of North Carolina's School of the Arts for Wig and Makeup, they created looks in their childhood bedroom and used their free time to develop their skills. Now a successful graduate, Miaorana has made a home for themselves in New York City, surrounded by friends, fellow artists and plenty of work opportunities. In addition to curating their craft for Broadway's ever-constant audience, Ryn has also had their work featured in many notable titles, the most recent of which is Sofia Coppola's highly-anticipated Priscilla.

The FMC was lucky enough to carve out some time with Ryn during their busiest month to chat about post-grad life in the industry, their favorite kinds of looks, crafting Elvis' sideburns and more.

There’s a lot I want to talk about, but let’s start with when special effects makeup piqued your interest. Why do you love it?

It started when I was young! I was always drawn to art, painting and horror. When I discovered I could do all three for a job, it was a no-brainer.

You’re a graduate of UNC School of the Arts for Wig and Makeup. What would you say was the most valuable thing you learned there?

The school allowed me to learn a good amount of the skill sets I needed to jump into my career straight out of college, which definitely gave me a leg up. I’ve now been able to learn from other artists outside of school, but I wouldn’t be where I am today if UNCSA wasn’t there to show me the basics. They taught me the rules, and then I learned how to break them.

I've heard that concept about rules in a show, but I can't think of which one. [laughter] How would you say you have most improved as an Artist since graduation?

HAIR. For sure. I never thought I would be working so actively as a hairstylist because my focus was always on makeup. But when you’re looking for jobs, my advice is to go towards whichever skill is needed.

What area do you think you could use more practice in?

Honestly, at this point, I feel like I need to brush up on some of my makeup techniques.

The term “starving artist” exists for a reason. How have you found post-graduate life?

It’s never been easy, but it has been maybe easier than I expected? [laughter]. There are some rough weeks, especially with the strike and all. But Broadway has had my back. I enjoy swinging between shows a lot. It keeps me from getting bored.

What advice would you give others approaching that period?

Even the artists in my life who are extremely experienced and talented still have their rough patches. Everyone’s got their side hustle to make ends meet. Even the people you would expect to be booked all the time still struggle every now and then. You’re not alone. I would also make sure they know putting a monetary value on something that’s supposed to bring you joy is HARD, and it sucks. Don’t forget why you love it.

When did you decide to move to NYC? What factors played into that decision?

It was always going to be NYC for me. I fell in love with the environment a couple of years ago. Plus, a good amount of the connections I’ve made over the years are here. That’s part of the reason I’ve been able to stay booked as often as I am.

Correct me if I am wrong, but I’m assuming October is a busy month for you with Halloween. What is your artistic process from getting a client to the final look?

October has always been crazy for me. I usually request as many reference and inspiration pics as possible so that I can get the best idea of what a client is expecting from me. Then, I determine a realistic outcome for the time/resources/pay I’m getting.

Which looks are your favorite, both to do on yourself and others?

In my spare time, I’m a drag artist. So my favorite look on myself is the one you’ll see me in whenever I’m out in queer nightlife. For others, I like doing anything outside of the box. Anytime I’m asked to utilize my artistic vision and creativity is absolutely the best. But it doesn’t happen very often.

I also want to talk about the wigs you make. I think they are so cool. Which ones have been your favorite? Which ones take the longest?

Thank you! Definitely, the ones I’ve made for film and TV take me the longest but also excite me the most. I’ve been able to be a part of projects and build for people who would make younger me suspend their disbelief.

How did it feel to make Elvis’ iconic sideburns for Priscilla?

Honestly, I was really excited to find out that’s what I was building for! Sometimes, the companies I work for don’t give me a ton of detail about the projects I'm building for, but I’m really excited to watch the film and see how they turned out!

I bet! What a cool project to be a part of. To close, since this is The FMC, which Main Character archetype do you relate to most?

I think I’d probably be a combination of a few of them! I’d say I’m pretty headstrong, like the warrior, but I also see a lot of myself in the femme fatale. Being femme, confident and having an eye for detail can definitely make you the villain in some people's eyes.

As a bonus, which one do you think would ask for the best SFX look?

I think the femme fatale wouldn’t mind doing something both gorey AND gorgeous, and I'm so down for that.