A Japanese-born makeup artist, Ayako, was one of the few Asian artists to be part of the circle of "legendary children" which made up the 90's fashion industry and continues to be a trailblazer in the industry.
I can only assume how difficult it must have been back then for an Asian makeup artist to work in one of the world's top industry locations like New York. However, Ayako captured so many from the beauty and fashion industries with her imagination, curiosity, modesty, attention to detail, and beautiful black straight hair. Her hair is reminiscent of Sayoko Yamaguchi—one of the first successful Japanese professionals in the industry and an elegant behind-the-scenes girl. Ayako has worked with top celebrities and musicians such as Alicia Keys, Jennifer Lopez, Winona Ryder, Penelope Cruz, and Naomi Campbell. She has undoubtedly paved the way for Asian make-up artists of today.
Ayako's real career began in 1995, when she dropped off her portfolio at Francois Nars, the makeup artist she worshiped and the founder of Nars Cosmetics. Of course, there are many more stories before this incident, but this is the "key" moment of her life. She soon becomes his first assistant and eventually the Nars International Makeup Director.
During her time working with Francois Nars, she worked on major fashion shows and photoshoots, taking part in many shows by American designers such as Lim, Rodarte, and DVF. Apart from Nars, she also worked on shows for Versace and Fendi as head makeup artist in various locations from South Africa to the Great Walls of China—all while working on campaigns for fashion houses like Chanel and Fendi.
Afterward, her departure from Nars led her to pursue her dream of launching her own brand, Addiction, in 2009. Countering the trendy babydoll look in the Asian market at the time, she pushed forward more intense Asian beauty by bringing back red lipsticks and black eyeliners. It was a success. She continued her journey as the Creative Director for ten years until 2019. She collaborated with top photographers, Mert Alas and Marcus Piggott, Steven Meisel, and Karl Lagerfeld for its campaigns.
In the theme of Permanent Paper #2, Obsession, I intentionally curated the pieces to represent the essence of our visually oriented magazine. I especially could not resist two of her works, the 90s glamourous and dreamy world of David LaChapelle, or the theatrical transformations of models created by Francois Nars—so I requested the pieces from Ayako.
Imagine the amount of teamwork it took before the internet and digital photography. Am I the only one, or do you also feel the heat of passion radiating from these photographs?
P : We heard about your time as a “housewife” in Japan. How did you end up in New York and enter the world of beauty?
A : After studying abroad in France––even though I had an amazing experience from there, I ended up marrying my high school sweetheart on a whim! I kept studying French while I did my housewife things. One day, my sister, who was a stylist, put me in a shoot as an amateur model. I was fascinated by the world of photoshoots. I felt like that was my calling. I wanted to be part of that world. Then I applied for makeup school right away and got admitted. After graduation, I luckily got a job at a beauty laboratory of a major cosmetic company. After I had the opportunity to work with the makeup team from New York, then one of the stylists insisted that I come to New York to hang out with them. I visited them and tried an agency to see how it would work, not thinking anything would happen, but one of them offered to sponsor a working visa for me, so I decided to move to New York. I didn’t have a lot of time to think, and I wasn’t a hundred percent sure if it was the right move, but I thought it was an amazing opportunity for me to experience, so I moved forward with it rather than continue my married life.
P : Back then, the New York beauty scene was for only a select few, so as a Japanese person, it must have taken an enormous amount of hard work, talent, and luck. Becoming an assistant to Francois Nars must have been one of your first steps to enter that world. Can you talk about meeting him?
A : Five years after living in New York, I had done various types of jobs at that point, but unfortunately, I knew that my career wasn’t where I wanted. So I started to think about returning to Japan, but I still wanted to do something before that––it was working for fashion shows in Europe and New York. I thought, why not give it a try before going back to Japan? So I sent out the book to the makeup artists to see if there would be an assistant position for the artists I truly liked. Fortunately, as if to prove the past five years were not a waste of time, all of my wishes came true, and I became a team member for all four makeup artists at Paris, Milan, and New York fashion weeks. It was extremely tough working for all four of them, but it felt so exciting, and I knew something that I was looking for was there, so I decided to stay in New York and not return to Japan. Next season, I decided to stick to and concentrate on just one person, Francois Nars, whose style of work inspired me the most. After the season, I devoted my time more to suit his work. At this point, for the first time, I felt the real reason to be in New York.
P : Works you have provided us with––Playboy featuring Naomi Campbell, The Face featuring Gisele Bündchen, Italian Vogue featuring Alicia Keys, and more––show us that you have worked with David LaChapelle on quite a lot of important projects. What was the most memorable work that you guys have done?
A : I have worked with him on so many amazing photo shoots, and there was always this energy of creating art rather than shooting fashion photography. They would start working on the set from the previous day at his spacious studio in the East Village. The scale of the shoots always became so huge in many different ways, and we worked until we were satisfied. And one of the most memorable shoots was the Playboy one with Naomi Campbell. We transformed Naomi into different characters in each set. Her beautiful body and skin harmonized with colorful settings, creating magical hours where you forget the concept of time.
P : You have experienced backstage at fashion shows before the internet. Are there any memorable episodes? Can you talk about legendary designers and supermodels?
A Karl Lagerfeld––not only at fashion shows but on each occasion when the job is done, would take our hands and say, “Thank you for today.” I will never forget the warmth of his hands. When a job is more tasking, he would tell me, “Go to the Chanel store on Cambon tomorrow, Ayako, and pick whatever you like. Someone from the store will be waiting for you.” Jackets, bags, shoes, etc. and his huge love, all of them were like my dream come true moments. As well as those prints he made me were my treasures.
There was a photo shoot with Linda Evangelista. When I nervously suggested the idea of making her eyebrows blond, she smiled and said, “I am here for you today. You can do whatever you want. That’s my job.” I remember thinking, “Wow, this is what it takes to be a supermodel.”
I’d like to talk about Gianni Versace. In 1997, in his haute couture collection, there were pieces printed with Japanese characters reading Versace. After that show, I worked on the collection catalog and editorial in Paris as I did every year. I came up with the idea of painting those letters on a model’s body. Since it was Japanese and only the Japanese could understand what it said, I thought only I could do the body paint. So I spoke over the phone with Gianni and got his approval. And then, a few days after the photo shoot, I heard the news that he was assassinated. He was also another one who thanked each model by kissing them on their cheeks after shows. That kindness still brings tears to my eyes.
At last, the person who influenced me in every sense is Francois Nars.
P : Anyone interesting who transforms into someone else after getting your makeup done?
A : I don’t think I had anyone change their personality, but there’s one interesting episode with Sarah Jessica Parker at the Golden Globes. When I was doing her makeup, all of a sudden, the mirror we were using that was leaning on the wall just shattered. Since she believed that it was bad luck, the calm and collected Sarah Jessica became very nervous. But she confidently won Best Actress that night. It became a thing among the girls that when I do their makeup, they win awards.
P : You later worked with Karl Lagerfeld for your own brand; how did you feel? Any stories?
A : Since he had given me so many job opportunities, I knew that I wanted to work with him when I started my own. Even though the makeup line was a competitor to his, he willingly accepted the offer, and I am so proud of that. On the day of the first campaign shoot, I was extremely emotional but he comforted me so that the shoot went the best way. And the very first frame was the one that became our first advertising campaign!
P : When there was no such thing as retouching photographs, what was the trick you had with your makeup skill? Any techniques that you don’t need anymore?
A : Whether there are more developed digital retouching techniques or not, the most essential thing in makeup to me is skin texture and color. Especially back then, creating the bare skin look was the key, and I was so good at it, especially for black skin. The techniques you no longer need are bar soap to glue the eyebrows down and taping up to lift the face line.
P : What is the secret to having trusting relationships with people who have long careers like Naomi Campbell, Alicia Keys, Anna Sui, and others?
A : I would say probably to keep comfortable and mindful distancing.
P : What is your makeup motto in working with top level artists of the world?
A : To maintain your sophistication.
P : Are there any projects happening or any photographers you want to work with?
A : There are so many photographers I would love to work with, and I also would love to try photography myself one day.
P : High heels or sneakers?
A : Definitely high heels. I do not own a single pair of sneakers, darling.
P : Coffee or tea? Favorite brand?
A Coffee. My favorite brand, as in clothes? Yves Saint Laurent, especially the Hedi Slimane era, Celine the Phoebe Philo era, Helmut Lang when he was the designer, and Rick Owens.
P : What is your plan for 2022?
A : I would like to start exciting projects and streaming. I also definitely would like to travel wherever I want.
P : Our issue two’s theme is “obsession.” What are you obsessed with?
A : My obsession is addiction and it still remains that way. But, I could say that I am obsessed with my eyeliner from Addiction by Ayako.
I am also a francophile, so my obsession is the French language, croissants, and cafes in Paris.
Oops, I cannot forget my dog. I am obsessed with my dog, Leo!
December 2021
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