When we think of Wicked, the iconic Broadway musical-turned-film set to release this week, certain images spring to mind: Elphaba’s verdant skin, Glinda’s sparkling radiance, and the vibrancy of Oz. These visuals are now immortalised on screen, thanks to Frances Hannon, the Academy Award-winning makeup and hair designer behind the film. Hannon’s transformative work, whether in The Grand Budapest Hotel or The Darjeeling Limited, has shaped cinematic history. In her first exclusive interview with an Indian publication, Hannon opens up about how she redefined Wicked’s aesthetic and her role in revolutionising makeup for the future.
From the moment the project landed on her desk, Hannon knew that Wicked required its own magic. “I didn’t start with the world of Oz,” she recalls. “I began with Elphaba. If she wasn’t perfect, the world around her wouldn’t work.” The challenge was monumental: creating a green that felt organic, stayed stable across lighting conditions, and reflected Elphaba’s journey as she evolved from a misunderstood girl to a powerhouse witch.
Elphaba’s Look – A Shade of Green Like No Other
The green skin of Elphaba (Cynthia Erivo) is one of Wicked‘s most iconic elements, but creating that perfect green was no easy task. Hannon describes the challenge of finding a shade that would stay true under all lighting conditions, something that had never been done before. “The green never existed,” she says with a laugh. “I could mix all the greens together, but I couldn’t make it stay consistent across different lighting. Some lights made her look grey instead of green, or slightly blue. I needed to find a way for it to reflect light properly.”
Her solution? A discontinued neon-based product she found in Canada, which hadn’t yet made its way to the UK. With the help of bespoke product maker David Stoneman, Frances created a green that was not only stable but truly reflective under every light. And it worked wonders.
“You’ll see it in the movie. It works in every light and it feels like skin,” she adds. I nod, recalling how Cynthia’s Elphaba’s skin seemed to glow on screen, moving effortlessly with her as she sang, almost like the green had become part of her character’s essence. Hannon smiles, clearly proud of her work. “It was totally created for Cynthia. Maybe now, it’ll inspire a new line of products for costume makeup that looks natural.”
Glinda’s Look – Pink Perfection with a Touch of Magic
Switching gears to the ethereal Glinda (Ariana DeBose), Hannon explains the delicate balance she struck between the two very different looks. “We kept Glinda’s makeup very opalescent and iridescent. It was about reflection, not absorption. That way, the light worked on her as it did on Elphaba, but without clashing,” she explains.
I couldn’t help but think of the moment in the movie when Glinda, with her shimmering pink makeup, looks at Elphaba and says, “Green and pink go so well together.” It’s a perfect nod to the makeup designs and how the two characters’ looks come together harmoniously, despite the bold contrast of their colours.
“You’re right,” says Hannon, “it was intentional. When you have two totally contrasting skins like that, you run the risk of losing definition. But by using reflective makeup on both, we made sure their looks would complement each other.”
A Dance of Green and Pink
Of course, this harmony didn’t come easily. As Hannon notes, designing makeup for both Elphaba and Glinda required a deep understanding of how light interacts with colours and skin tones. “The trick was to balance the reflection between the green and the pink. Both were reflective but in different ways. The green was very much our friend,” Hannon says with a grin, clearly pleased with the outcome.
For me, it was fascinating to see how both characters, so different in personality and aesthetic, were visually unified by this clever use of makeup. Watching them on screen, you can’t help but think—green and pink really do go so well together!
To Hands That Spoke
Early in the design process, Cynthia Erivo suggested that Elphaba’s nails become a reflection of her character’s development throughout the film. “We started off with the little seven-year-old having very small, tiny green nails,” Frances shares. “Then we developed it into Elphaba’s sheer and long but natural nails. And then, in the Emerald City, where she’s feeling powerful and confident, we chose stronger nails.” The nails were a visual cue for her growth, beginning with delicate green nails and evolving into striking glittery designs to signify her journey.
In addition to Glinda’s radiant blonde locks, her nails were also key to her look. Glinda’s French manicure, a classic design, was chosen for its timeless elegance. “It worked seamlessly with all her costumes,” says Hannon. The simplicity of the French manicure provided a clean, flattering touch that balanced the ornate costumes and helped highlight the princess-like charm that was central to Glinda’s character.
Designing Distinct Worlds in Oz
Every city in Oz tells its own story, and Hannon’s makeup design ensured every citizen looked like they belonged yet stood out. From the freckled Munchkins with sun-kissed cheeks to Madame Morrible’s statuesque cloud-like hair, the characters burst to life with individuality.
“I believe less is more,” Hannon said, explaining her approach. “Even in a fantastical world, grounding the design in reality makes it timeless. The little nuances—a freckle here, a hair texture there—build the bigger picture without overwhelming it.”
We delved into Fiyero’s character, played by Jonathan Bailey. His golden highlights, inspired by his costume’s brass accents, shimmered with subtle elegance. But the pièce de résistance? Fiyero’s horse. “He was entirely makeup, not prosthetics or CGI,” she revealed. The horse’s holographic, iridescent blue tones were painted on—a testament to her team’s ingenuity.
I was taken aback—this wasn’t a technique I had ever heard of before. “Wow,” I say, amazed, “it’s incredible that you could achieve that with just makeup.”
Frances nods, clearly thrilled with the result. “It was a brand new thing, and I think it’s going to change how we approach animals in film makeup. Who knows? Maybe it’ll catch on!”
The Future of Makeup
As one of the leading makeup artists in the industry, Hannon has seen firsthand how makeup in film is evolving. She’s excited about the potential of technology to revolutionise the field, mentioning advancements in high-definition cameras, 3D printing, and AI.
“We’re definitely going to see a lot more of post-production being used to perfect makeup. Prosthetics, like in Maleficent, are often perfected in post now, which wasn’t the case when I started out,” she says. “It’s going to be a big shift in the industry.”
But what really excites her is the role of makeup in storytelling. “Makeup isn’t just about beauty,” Hannon says. “It’s about enhancing the story and the character. And in Wicked, it was all about making sure the magic came to life on screen, both through the characters’ looks and through the world we created for them.”
Wisdom from a Makeup Wizard
Finally, I ask Frances for some advice, knowing that her journey from iconic films like Les Misérables to The Hunger Games has been a testament to both hard work and innovation.
“One thing I can say is that the little nuances often make the biggest difference,” she says thoughtfully. “When you’re designing or imagining a look, don’t always go for the big picture. It’s those small details that really make the change.”
She gives me a wink. “And if you’re as observant as you’ve been today, you’re already on the right track.”
From the breathtaking makeup designs of Elphaba and Glinda to the innovative techniques used to create Fiyero’s horse, Frances Hannon’s work on Wicked is nothing short of revolutionary. As we await the film’s release, it’s clear that her vision for makeup will continue to inspire, transform, and leave us in awe for years to come.
Wicked releases worldwide on November 22, 2024. Prepare to be spellbound.
Photo Credits: Getty Images
