AN EVENING WITH... BABALWA MTSHISELWA

"Flatland" by Jenna Bass ©Proper Film

Babalwa, you have led departments in large-scale productions such as "The Woman King" and "London Calling". How do you ensure your creative vision remains intact when you have to coordinate massive makeup and hair teams across different shooting units?

- Babalwa: Every project carries a unique imprint. With each job, the requirements and the work I do are completely different. While certain techniques and makeup applications may overlap, the story always differs significantly.

The way I work with my team is rooted in delegation and empowerment. I assign responsibilities based on each individual’s skill level and strengths. This allows me to maintain a high standard across a wide range of looks and storytelling demands. Once the vision is clearly communicated, every team member takes ownership of what they excel at as well as their assigned actors, ensuring both quality and consistency across the project.

Filmmaking is fluid. As we shoot, changes happen constantly, and each day is influenced by the one before. Story direction and creative choices may evolve in real time. Because of this, communication becomes the most critical element. Continuous alignment between the Art Department, Costume Department, Directing Team, and Script Supervision is essential. Without consistent cross checks, it becomes difficult to maintain the intended creative vision. However, when communication is strong and there is mutual trust, adjustments can be made without compromising the integrity of the story. And with all that, the vision and quality is maintained throughout the shoot.

In your filmography, we see a wide variety of genres, from historical dramas to action thrillers. What is your initial research process to differentiate the aesthetic of a series like "The Watch" from an epic film based on real events?

- Babalwa: Working across genres doesn’t necessarily change my research process. My starting point is always the same: understanding the character. I immerse myself in conversations with the director, the actor, and the script, forming a holistic view of who this person is. When a backstory isn’t provided, I create one drawing from all available insights.

From there, I explore the character’s world. Where do they come from? What does their daily life look like? Do they live in a large home or an informal settlement? What is their routine? What are their environmental and cultural influences? These details inform everything. A person who fetches water at dawn and works on a farm will present very differently from someone living in an urban environment. I also consider the character’s emotional arc where they begin, what they endure, and where they end up. All of these layers shape how I approach their look, not in comparison to others, but in conjunction with the world they exist in.

When working on real life stories versus fictional ones, the core approach remains the same: I enter the character. Whether real or imagined, I treat them as someone who exists. However, with real-life stories, there is a deeper responsibility. These individuals lived, and their identities must be honored with accuracy and respect. Nonetheless, I also believe that a degree of creative freedom and interpretation is essential within any creative space. Authentic connection to the story and the process can only be ensured when it is rooted in one’s unique DNA.

"The Woman King" was a visual milestone. How did you approach the design of the tribal scars and marks to ensure they were not only aesthetically striking but also historically coherent and technically resilient to combat scenes?

- Babalwa: Historical research can be particularly challenging, especially when it comes to under-documented cultures. I go beyond traditional sources drawing from paintings, sculptures, textiles, and visual storytelling methods used throughout history. Much of our past wasn’t documented through photography but through art, and those details become invaluable in reconstructing authenticity.

Empathy is central to my process. You cannot portray someone truthfully without seeking to understand them. I approach every character with curiosity, respect, and cultural sensitivity. I actively engage with people and communities when possible, ensuring that representation is thoughtful and informed rather than assumptive.

On "The Woman King". The scars worn by the Agojie warriors were not marks of damage, but symbols of pride and beauty. These female soldiers successfully fought to protect their land and king, and their battle scars were treated with herbal applications designed not only to heal but to form raised keloid patterns intentionally visible and celebrated. I remain open to correction on this matter.

Understanding this required deep research, not just into the cultural meaning of the scars, but also into the weapons used, the fighting techniques, and the physicality of combat. I collaborated closely with the Art Department and Stunt Team to understand how injuries would realistically occur. Every scar was intentional, telling its own story, whether pre-existing or developed throughout the narrative.

Technically, this presented challenges. The warriors historically applied palm oil to their bodies, which made them difficult to grip in combat. However, oil is the enemy of prosthetics. Through extensive testing, my team and I developed a formula that allowed both elements to coexist. The result was incredibly effective—the prosthetics held, and the oil enhanced realism without compromising durability.

Balancing historical accuracy with cinematic aesthetics was another challenge. While these women embodied strength and hardness, there was still a need to ensure visual engagement for audiences. Finding that balance required thoughtful interpretation without diluting authenticity.

Historically, the industry has often failed in representing skin tones. What colorimetry protocols and product selection do you consider non-negotiable today to ensure that skin looks vibrant and real under modern cinematic lighting?

- Babalwa: When it comes to products, I honestly prioritize brands that cater to all skin tones. I frequently work with Pat McGrath Labs®, YSL®, MAC® Conceal and Correct palettes, and Dior® Face & Body foundation, particularly for deeper skin tones due to its accurate undertones and lightweight finish.

Skin preparation is everything. The better the prep, the more seamless the result. My goal is always to achieve skin that looks like skin, flawless yet natural. This requires testing products carefully, ensuring compatibility between skincare and foundation, and adapting to each actor’s specific needs, sensitivities, and environment.

Representation also comes from within the team. Hiring artists of colour who understand diverse skin tones is essential in achieving authenticity.

"My Spy: The Eternal City" Dave Bautista & Chloe Coleman ©Prime Video

How does your approach change when you work closely with a single actor versus when you have to design the overall look for an entire series?

- Babalwa: Working on a single character versus an ensemble presents different challenges. With an individual, the focus is more contained. I tend to focus deeply on one character and their individual storyline. However, that focus doesn’t exist in isolation. I’m always mindful of the broader narrative, what the story requires of the other characters, and ensure that my work remains aligned within that world. This becomes especially important when dealing with characters whose journeys are closely intertwined with the artist I’m working on. 

In those moments, it’s about maintaining cohesion while still allowing each character to hold their own truth within the story. With an ensemble, it’s about balancing multiple journeys simultaneously ensuring each character stands out without disrupting the overall visual narrative.

In action projects like "Escape Room 2" or "Shaft 6", sweat, blood, and wear are crucial. What are your "must-haves" in your kit to maintain consistent realism when filming demands endless repetitions of high-physical-effort scenes?

- Babalwa: I approach each story without a fixed formula, allowing the narrative and my evolving creative perspective to guide me. The actor is central to that process as comfort and skin sensitivity are key, and I adapt my methods accordingly. 

Everything is contextual: the story, the climate, the location, and the environment all inform the final outcome. My decisions are driven by texture, consistency, and how the work translates on camera, particularly across different skin tones and through the lens. 

For sweat I work intuitively with materials like glycerin, natural oils, Vaseline, water, and Eight Hour Cream to best serve both the actor and the story. When it comes to blood work, it’s about intention; whether it dries, stays wet, stains, or not depending on the scene and shooting schedule. Continuity is essential, relying on detailed imagery and formulas to ensure consistency and accurately replicate the look across takes.

You have worked on international productions and sets like "My Spy: The Eternal City" or "London Calling". How do you adapt the chemistry of your products and your sealing techniques when transitioning from humid or desert climates to urban European environments?

- Babalwa: As someone who values research, I always consider what is locally available and what people in that environment would naturally use. I also take into account where the actor comes from versus where they are working, ensuring their skin and hair respond as neutrally as possible to the environment. On a shoot in Mauritius with Christina Milian, for example, humidity played a major role. Her hair is naturally curly with a softer, smoother strand which is a highly reactive type of strand, shifting in texture throughout the day depending on humidity levels. To maintain consistency, I initially used my go-to mousse, but it didn’t hold in the humidity. I then switched to a heavier, more humidity-resistant formula, which maintained the curl pattern beautifully, even through water scenes. 

The climate also informed my makeup choices. In hot, humid conditions, especially on brown skin, I opt for matte foundations. While some shine is inevitable, a matte base allows it to develop into a natural, radiant glow rather than appearing overly oily. This also makes it easy to control. A strong setting spray is essential to ensure longevity under those conditions.  I don’t use a setting spray or powder in cases where someone naturally sweats a lot, this makes it easier for me correct and maintain as we go. 

In colder environments, I take the opposite approach, prioritising hydration and avoiding overly matte or drying products. Ultimately, it always comes back to the individual: their skin and hair type, their natural response to different climates, and how best to support that. For example, in extreme heat where flushing can occur, I rely on colour correction particularly green tones to neutralise redness before applying foundation.

As a Department Head, what criteria do you follow to choose your "Key Artists" and how much importance do you place on problem-solving ability versus pure technical talent during a high-pressure shoot?

- Babalwa: When building my team, I start with the nature of the project, its style, environment, and the types of actors involved. This helps me identify the right mix of skills and experience, particularly when it comes to different textures, techniques, or specialised areas like SFX and prosthetics. Equally important is personality. I prioritise people who collaborate well, show initiative, and are willing to learn. While technical skill matters, especially in key positions where expertise must be unquestionable I also believe in creating space for growth. Where necessary and possible  I bring in junior artists with strong potential, ensuring there’s always a balance between experience and development. Mentorship and knowledge sharing are central to how I work.

Leadership, for me, is about both guidance and empowerment. While I’m highly hands-on and naturally step into problem solving under pressure, I encourage my team to think independently and collaborate on solutions. This not only strengthens the work in the moment but builds a team I can trust to deliver, even in my absence.

Of course, practical realities like budget can influence decisions, but I always ensure that the structure is strong, particularly by having a reliable right hand to help me maintain the standard. Ultimately, I’m building teams that are skilled, adaptable, and supportive of one another, because that’s what allows the work to truly thrive.

For makeup artists who want to transition from local productions to the international industry, what is the most important advice you would give them about creating a portfolio that catches the attention of agencies like The Milton Agency?

- Babalwa: For artists looking to transition from local to international productions, preparation is everything. The two worlds operate very differently, and that shift can be a culture shock. My advice is to focus on what sets you apart, find your niche, refine it, and master it. That becomes your calling card. 

Once you’re in the space, approach it with humility. Even with experience, allow yourself to learn, observe, and absorb as much as possible to add to your skills and expand your areas of expertise. Treat every moment as an opportunity to grow; ask questions, practise constantly, and remain open to new ways of working. 

Research is also key. Understand the people you’ll be working with, from the director, to producers, and especially your Head of Department. Knowing their work not only prepares you but shows initiative and respect for the craft. At the same time, be intentional about building your portfolio. Document your work, curate strong visuals, and keep your CV updated. Focus on quality over quantity, your portfolio should reflect your best work across all areas of your craft. 

Above all, prioritise learning and building relationships with the artists around you and your HOD’s over immediate financial gain. Patience, consistency, initiative and a willingness to evolve are what ultimately open doors in international spaces.

Looking ahead to the future of cinema in 2026, what do you think will be the biggest breakthrough in effects makeup and how should novice artists prepare to integrate new technologies with traditional manual work?

- Babalwa: Having spent over 15 years in the industry, one thing I’ve learned is that makeup is constantly evolving. When I started, I was introduced to older techniques that came before my time, like latex, clay, and traditional methods that were often difficult to maintain but they reflected what was available at the time. 

That perspective taught me the importance of staying open. As artists, we have to keep our minds, eyes, and ears open. While it’s important to honour and refine your core skills, limiting yourself to what you already know can hold you back.  New products, technologies, and techniques are emerging all the time, and growth depends on our willingness to adapt. 

I believe that the rise of AI and advanced technologies, with the landscape shifting even faster, will influence change and development in effects makeup for the better. 

Rather than approaching this shift with fear, I believe in meeting it with curiosity, asking how these tools can support and enhance our work. AI, for instance, offers powerful opportunities for visualising ideas and pushing creative boundaries.

Ultimately, evolution is part of the craft. The key is to embrace change, remain adaptable, and commit to continuous learning.

Conversing with Babalwa Mtshiselwa reminds us that makeup and hair in cinema are extensions of the character's very soul. Her ability to lead projects of such magnitude with a clear and respectful vision towards technical diversity is a lesson for all of us. Thank you, Babalwa, for sharing your process and for continuing to raise the standard of design on the global screen.

We invite you to continue exploring Babalwa's impeccable work in her projects through her social networks Instagram and Imdb.

See you on the next set, Makeup Artist.