Before she was painting faces for magazine covers, movies, and red carpets, Riviera Lynn Vaz was backstage at dance shows, learning to blend and contour with a Kryolan palette. “I didn’t even grow up wearing makeup,” she says. But somewhere between a short course at Fat Mu, a deep internet crush on the London-based Delamar Academy of Makeup and Hair, and prosthetic experiments in her bedroom, Vaz found herself all in—first for bruises and fake blood, then for a flawless base and bronzed glow.
Today, she’s known for her impossibly light hand, her gentle glam, and as YSL Beauty’s national makeup artist. She’s also the kind of artist who prefers her own face bare, swears by sunscreen over highlighter, and picks up products purely because the packaging looks cool (who isn’t guilty of this?).
Below, Vaz on the products she uses till the last drop, working with Alia Bhatt and Janhvi Kapoor, and her Olive Young hauls from her trips to Seoul.
I didn’t wear any makeup growing up... because my mom never wore any—and still doesn’t. I wasn’t introduced to makeup at a young age, but I used to dance with this group in Mumbai while in junior college, and one of the girls in the group was a makeup artist. She did an at-home session where she invited friends and taught them how to do their own makeup. I remember going to Kryolan and buying a bunch of products after the session. We’d stage a lot of shows, so she’d basically do the makeup, and we’d try to replicate the same thing on each other backstage. That was my introduction to this world.
My first formal makeup course was at Fat Mu in Bandra, just for fun during summer break from college. While in my third year of studying BMM, I realised I wasn’t interested in journalism or advertising. I randomly came across Delamar Academy online and was obsessed. They specialised in prosthetics, and I would go and stalk their website every day for hours. I wasn’t interested in beautiful makeup at all at the time; I just wanted to do full-blown prosthetics and create crazy characters.
I went to Delamar and ended up falling for beauty. I came back and played around with prosthetics on myself at home. I even worked on a film doing on-skin SFX. But slowly, I realised I just wanted to make people look beautiful. I didn’t want to build characters anymore.
One of the most challenging projects I’ve done was Mili with Janhvi Kapoor. Her character gets stuck in a freezer, so she had to look frozen. The prosthetics were designed by another artist, but I had to create the progression in her skin tone—how it changes from when she enters the freezer to having spent many hours there. My job was to make sure the skin changes colour slowly, and towards the end she’s got this almost purple, deep skin tone. When you do prosthetics and bruises and stuff, you have to work in a very specific way because the camera picks up every pixel. We’d spend nearly two hours every day painting her face and the insides of her ears and nose using alcohol paint. Every spot had to be filled so it would look realistic. It was a crazy experience, and I really, really enjoyed it. But after that, I was like, I just want to do beautiful makeup now.