Meet Lynda Armstrong // Makeup + Hair Designer, Damsel
Lynda Armstrong is a prolific makeup, hair, and prosthetics designer whose career has expanded through many film genres. Focusing her attention to style and detail, her work varies from fantasy and period to action movies. She has designed a variety of characters for films including Damsel, Little Shop of Horrors, The Secret of Moonacre, Batman, Troy, Michael Collins, 101 Dalmations (BAFTA Nomination), Count of Monte Cristo, London has Fallen and Angel has Fallen, to name a few.
*This interview is in partnership with Damsel, a Netflix film released on March 8th, 2024 starring and executive produced by Millie Bobby Brown. Watch it on Netflix today!
EiE: In just a few words or sentences, tell us who you are.
Lynda: I am a makeup, hair, and prosthetic designer. Born in Dublin, Ireland, I studied makeup, hair, wig-making, and prosthetics at the London College of Fashion. After finishing college, I worked in Ireland for a few years before furthering my career in London, England—some 35 years ago!
How’d you break into the field, and what has the evolution of your career looked like?
I have always been interested in film and the idea of creating characters that fit into the story being told. You can really bring a character to life with makeup and hair design. I also enjoy helping the artists perform as they are physically transformed. Art and sculpture have always been part of my life—even in school you would find me in the art room painting, designing, and drawing. After moving back to England, I was so fortunate to work with my amazing makeup mentor, Paul Englen for 13 years, and on hair with Colin Jamison on films like Batman, Robin Hood: Prince of Thieves, and Little Shop of Horrors. After that, I went out on my own to design my own project, which was so exciting. I had some great projects come my way such as 101 Dalmatians, the Micheal Collins movie, and Count of Monte Cristo to name a few. Recently I have designed for All the Light You Cannot See, We Were the Lucky Ones, and Angel Has Fallen.
Some genres in your wheelhouse include fantasy, period, and action. What kind of work do you enjoy most? Do you tend to gravitate toward specific projects?
I tend to gravitate toward period projects with elements of action and sometimes fantasy. If they have a prosthetic element to it, that’s always great. I also love projects that have lots of different characters, so I can take them through their journeys with various makeup and hair designs.
Photo: Netflix
Your impressive career started in the 80s, working on films like Little Shop of Horrors and Batman (1989). How has the industry changed throughout the years, and how do you keep up with the latest techniques and products?
The industry has changed a lot. When I started, everything was shot on 35mm or super 16 film, and lighting was different; films had different tones back then—some warmer, some cooler. Now, it's all digital. When digital first started, the pictures were very clear, so details like wig lace and prosthetics would pop out more, which was a challenge. Now, a lot of products have advanced, especially prosthetics. To keep up with all the change, I still attend workshops and go to fairs to look into new products all the time.
You’ve also had a hand in some wildly popular franchises, ex: Harry Potter, 007, and Stranger Things. What’s it like to work on bigger projects like those? Do you find yourself having more or less creative control?
A lot of big projects are more commercialized, which can sometimes feel less creative. It’s for the more mid-budget films that you can have more design input, which I personally love.
What was your approach to the hair + makeup for Damsel? How did the looks we see on screen come together, and what was your inspiration for them?
The inspiration for Damsel came from many places. I loved working on Millie’s wig color, length, and design, and choosing makeup colors to complement her complexion. Damsel is a fantasy medieval film, so my inspirations for her ultimately came from a lot of medieval paintings. Her character in the film is strong and gutsy, so the use of red tones really worked, especially as she moves into different areas within the caves. As the film is fantasy, I loved the opportunity to use avant garde inspiration. The dragon scales and the flames in the film, for example, gave me some great makeup ideas.
Photo: Netflix
What’s your advice for other creatives wanting to work in TV and film? What were some early steps you took to establish your career?
I went to the London College of Fashion for three years, and after that, I sort of started my training all over again in the field. I worked under mentors for about 13 years before I started designing on my own. I felt it was very important to gain as much knowledge as possible before I was the designer with a team underneath me. I have been very fortunate to have a career in something I am totally passionate about. My biggest advice is to keep going, and keep learning, in order to keep up with the times.
Do you have any favorite moments or memories from your time on-set for Damsel?
My favorite moments were from the initial designing meeting. I loved talking with Millie about hair color and length, the design for her wedding look, and the unraveling of her style as she travels through the caves. I also enjoyed working with the costume designer to see what everyone was wearing, working alongside the set to see what colors blended well, seeing how much dirt and prosthetics needed to get made, and seeing the director's vision, etc.
Describe your perfect day off-the-clock.
Relaxing—maybe some yoga. If I’m in a different country for work, I love to explore and pop into galleries and museums.
How can we best follow along with your work?
On IMDb and Instagram, @lyndaarmstrongdesigner.
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