Q&A; : ‘If She Doesn’t Feel Attractive, Then I Haven’t Done My Job’

Chances are , you’ve seen the work of makeup artist Kevyn Aucoin and not known it because he’s at the top of a behind-the-scenes profession. Born in Lafayette, La., Aucoin has come a long way from Cajun country. A high school dropout, he moved to New York City at age 20 and never looked back. Now 32, he has more magazine covers to his credit than any other makeup artist and has just written a book (the coffee-table-size “Art of Makeup”) . Curled up on his hotel - room couch -- all 6-feet-4 of him -- Aucoin is clean-shaven, fresh-scrubbed and living proof (like the models he works with) that he’s not afraid to change his look.

Question: You attempted your first make-over at age 11. What drew you to makeup?

Answer: The relationship between beauty and power. Growing up, I saw how adults treated kids differently--”Oh, what a beautiful little boy, what a beautiful little girl!”--and saw the attention lavished on that child. As opposed to a child who is unattractive.

So I learned early on that attractive is the way to be, as unfair as that is.

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Q: Did you ever think of doing anything else?

A: All I had growing up was my talent for making things beautiful, and I thought of becoming an artist, but it’s such a lonely thing, to paint. Plus I didn’t have the patience for it. I loved people and I loved painting, so painting on people seemed like a logical progression. And it seemed to make people feel good about themselves, so it was kind of therapeutic in a way. I realize now that I was trying to make them beautiful because I wanted to see myself as beautiful.

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Q: In the book you say, as a boy: “I figured if I could make my little sister more beautiful, she could model and we could get some money and get out of there.” What was so bad?

A: Growing up in Louisiana is a really scary thing. I was picked up by the police several times just for walking down the street. They thought I was effeminate or something and decided they were gonna harass me.

I had friends who were beat up, not only by the police but by the redneck kids down there. You had no recourse, you couldn’t go to the police and talk to them about it, because if you ever did--which I did, of course!--their response was, “Well, you deserved it.”

But the worst thing about growing up was the feeling of isolation. I realized I was different--that I was gay--when I was about 8 years old. You start becoming afraid of being found out, because you’re constantly being told by your church--I was raised Catholic--by your school, by the TV set, by the newspaper, that who you are is bad. It’s a very terrifying thing for a child to go through.

I kept waiting for this Dr. Jekyll and Mr. Hyde moment--that I would become this ax-wielding, child-molesting murderer. And it never happened. At about 12 years old I thought, this is ridiculous--I’m not a monster, I’m me.

And that’s what I think has propelled me into the world and into my success. Because at that moment, I stopped listening to other people’s rules and started making my own.

I consider myself a moral person, but morality to me is not based on religion. It’s based on my view of the world, which is as long as I’m not hurting someone else, as long as I live my life in a happy, healthy way, then leave me alone.

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Q: So being gay, that sensibility, has helped you in your career.

A: People always ask why all the great makeup artists are gay men. I think it’s because we have a certain objectivity. We don’t have any investment in what we’re doing except a real desire to give something to a woman. It’s not a sexual thing, it’s not a competitive thing--it’s just a friendship thing.

And I think there’s a connection, too, based on oppression. I understand what it’s like not to be at the top of the straight-white-male power structure. Somehow it just aligns you with women, you know what I mean?

The women I’ve ended up working with the most--and the people I love being around the most, in the non-business world--have all been through some kind of struggle, whether it’s being black, or being female, or being considered unattractive, or whatever. And I find it fascinating that we tend to put people in office who have no understanding of what we have all been through. With the exception of the President we have now.

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Q: Let’s talk about makeup and celebrities. Have you ever arrived on a shoot and had a star say, “I always do my own makeup”?

A: Oh, yeah. But what am I gonna do? Because underneath she’s basically saying, “I’m feeling uncomfortable, I need some reassurance here, I need to feel like I have equal power in this process.”

And I’m very open to what the subject wants. You can’t just come in and say, “I know best, you sit still and shut up.” Because in the end she’s the person who has to go out on the set and project some kind of beauty. And if she doesn’t feel attractive, then I haven’t done my job. My job is to make someone feel attractive, not to come in with some preconceived idea and stamp it on someone’s face. That would be so arrogant.

And also, when you think you know it all, that’s when you stop being successful. All of my greatest moments happened when I wasn’t quite sure about something, and then changed my mind. You can’t bulldoze your way through creativity.

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Q: Leafing through the book we see a different--softer--side of Roseanne, Demi Moore, Tina Turner and Liza Minnelli, all of whom you relieved of red lipstick. Was it hard to take away their trademark?

A: Luckily, after the first time I work with a celebrity, she typically says, “Whatever, go ahead.” She just trusts me after that.

Women in general are sometimes reluctant to give up a way of doing their makeup. And I don’t blame them. I think it’s a good thing to be reluctant, because God knows we’ve seen what happens when a celebrity goes for a look that just doesn’t work for them.

Now that I’ve had more publicity, a star may say, “Oh, I’m so excited that I get to work with you.” But you know, on some level that’s agonizing for me, because I’m afraid she’s expecting something that’s completely sixth dimension.

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Q: You’ve said that beauty is synonymous with uniqueness, that you love unusual features and bone structure. Instead of trying to make women look “perfect,” you accentuate the positive with makeup. And in the book you make over some real women. Can we schedule appointments with you in person?

A: Everyone has asked me that question. I wish I could get on a bus and tour America, because I love women and I would love to be able to do that. But because of my makeup contract in Japan (he travels there twice a year for Shiseido), my Allure magazine contract, my work with Janet Jackson (he makes her up for video, print and TV appearances), my work for Vogue and Harper’s Bazaar, and the cosmetic advertising and TV commercials . . . I can’t. I mean, just try and find a private life in there somewhere.

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Q: Do you have any makeup advice for L.A. women?

A: Not really. They look good to me. But people here take too much sun. And there’s a preoccupation with that blond thing, which you don’t see in New York.

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Q: In the book you say, “I’ve always adored women who were daring in their approach to makeup. It’s better to be noticed for blood-red lipstick or bright-blue eye shadow (or for not wearing any makeup at all) than to walk around with timidly applied makeup.” So you’re not a snob when it comes to blue eye shadow?

A: Not at all. Makeup should make you feel good about who you are. If I walk down the street and see a woman who’s painted her face into next week, I may think, it’s a bit much. But I also think, who is she? I want to know about her. People who are fearless attract me.

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Q: What’s the most important makeup tool?

A: A really powerful magnifying mirror--because the art of makeup is blending.

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Q: You say in the book that eyebrows are the most important facial feature.

A: Because they are so expressive. When you think of great beauties--Marlene Dietrich, Greta Garbo, Bette Davis, Joan Crawford, Elizabeth Taylor, Marilyn Monroe, Brooke Shields--you think of great eyebrows.

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Q: Describe the contents of a minimalist makeup bag.

A: In order of importance: concealer, eyelash curler, mascara, lip pencil, blush.

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Q: Among the women pictured in your book--Linda Evangelista, Christy Turlington, Claudia Schiffer, Naomi Campbell, Kate Moss, Barbra Streisand, Elizabeth Taylor--whose makeup are you proudest of? What’s your favorite portrait?

A: Oh, my god, what a question. I have several favorite photographs for different reasons. Oh, I have to show you this. I just sent my book to Barbra Streisand and she inscribed her portrait for me. (Displays Streisand’s personal message opposite her photo in book.)

You know she’s my hero. Because growing up as a young gay kid in the ‘60s, there were no role models for me.

I had to find somebody. And the closest person I could find was Barbra. Back then there was this white, blond, Barbie Doll view of beauty in this country--and then Barbra came on the scene with her unconventional looks. And I just thought she was so beautiful in the movie “Funny Girl,” because she was a survivor, someone who had been kicked around but made it through. I could identify with the kicked-around part. And I was hoping to make it through.

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Q: Now, about that favorite picture.

A: Um . . . let’s just say it’s the one of my 3-year-old niece.