Feature film Fancy Dance, starring Oscar-nominated Lily Gladstone, hit Apple TV+ earlier this year. The touching story follows Jax (Gladstone) who has cared for her niece, Roki, by scraping by on the Seneca-Cayuga reservation in Oklahoma, since her sister’s disappearance. With every spare minute going into finding her missing sister while also helping Roki prepare for an upcoming powwow, it’s a beautiful story about love and resilience.
Hair and makeup always plays a crucial part in transforming the actors into their characters and the film as a whole, and No Film School had a chance to sit down with Sharon Tabb, the hair and makeup department head on the film.
For the film Sharon used her vast experience to created a wide range of looks from natural for the Lily Gladstone as well as more glamorous looks for the powwow scenes. In our conversation, Tabb shares insights into a no makeup make up look that might fool everyone, her experience across Native American storytelling, and her tips on getting started.
Editor’s note: the following interview is edited for length and clarity.
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No Film School: What was your process like when you first signed on to work on Fancy Dance? Was it always intended for you to be both hair and makeup department head?
Sharon Tabb: The creative process I embarked on for this project mirrored my experience on Reservation Dogs, where I focused on authentic storytelling. Collaborating closely with the talented director, Erica Trembley, allowed me to understand and bring her vision for the characters to life. I also had the pleasure of working alongside Lily Gladstone to develop her character’s unique identity. This collaborative approach was essential, ensuring that every detail resonated with the narrative’s intent. From the outset, it was clear that I would take on the dual role of head of both the makeup and hair departments.
While managing both can often feel overwhelming, I was fortunate to find a rhythm that worked well for this project. I took charge of crafting Lily Gladstone’s makeup and hair, considering each element carefully to enhance her character while maintaining the overarching aesthetic of the piece. This hands-on approach allowed me to oversee every aspect of the visual transformation, ensuring we captured the essence of her character in a way that felt both authentic and impactful. Additionally, I made it a priority to staff my department with as many Indigenous artists as possible to honor the process.
NFS: You previously worked on Emmy-nominated Reservation Dogs, did you use your experience from that show on Fancy Dance?
Tabb: I approached Fancy Dance in the same way I approached Reservation Dogs. My first step is to communicate with the directors and the actors to understand their vision for the story and their characters. It’s a collaborative process throughout. I’m just a vessel here to help them bring their narratives to life. I conduct research, and the relationships I build along the way help me gather the information needed to develop the characters effectively.
Isabel Deroy-Olson and Lily Gladstone star in “Fancy Dance,” now streaming on Apple TV+.Apple TV
NFS: Can you talk us through the hair and makeup look for Lily Gladstone’s Jax?
Tabb: The hair and makeup look for Lily Gladstone’s character, Jax, began with a collaboration between director Erica Trembley and Lily Gladstone. Jax is more of a tomboy, so she doesn’t wear makeup and doesn’t fit the traditional ‘girly girl’ mold.
Instead, she is portrayed as a strong woman on a mission to find her sister while also taking care of her niece as if she were her own child. We decided on “no makeup” makeup looks. To achieve this look, I used a cream foundation mixed with a moisturizer for a more real skin look, along with a cream blush and tinted lip balm. I also didn’t use concealer under her eyes to create a somewhat more raw look. We also opted for traditional Native hairstyles that showcased her long, beautiful hair. We used clip-in extensions to accentuate the length. I would dampen the hair and use a soft gel to help hold the style, as well as using tension while doing the braid.
NFS: The film also features more glamorous look for Tawi powwow. Can you talk a little bit more about it and the significance of the red lip?
Tabb: The flashback powwow with Tawi featured more glamorous makeup for their performances. The red lipstick was particularly important because it was the same shade that Tawi wore. For Roki, buying this lipstick meant honoring her mother’s legacy, as she believed her mother was still alive and that they would both participate in the powwow together. She chose that particular red lip color because it was the color her mother wore. Roki thought she was going to be meeting up with her mother at the fancy dance and wanted to be prepared.
NFS: Can you share more about creating looks for the strip club dancers?
Tabb: For the makeup and hair looks for the strippers, we had a lot of fun. We created glamorous and bold makeup styles typically seen in a strip club, featuring full shimmer eyeshadows, winged liner, and full strip lashes. We chose a mix of lip colors to complement their makeup, coordinating it with their outfits. For Crystal Lightning’s character, we designed a playful look by creating space buns and adding rhinestones to her makeup.
Isabel Deroy-Olson stars in “Fancy Dance,” now streaming on Apple TV+.AppleTV
NFS: Do you have any advice for people hoping to get to hair and makeup?
Tabb: If you have a passion for being a makeup artist or hairstylist, I encourage you to follow your dreams. Even if your friends and family don’t agree and think it’s far-fetched, you must do what speaks to your heart. Consider attending cosmetology or esthetician school to learn the basics and hygiene. If you want to focus on makeup, I suggest enrolling in a makeup school, but do your research on the instructors to ensure they have legitimate credentials. To learn about hair, take as many hair classes as possible, including advanced classes. Remember, in this business, you never stop learning. It takes time, so don’t get discouraged; it’s a journey, not a sprint.
Author: Jason Hellerman
This article comes from No Film School and can be read on the original site.
