From the invisible glamour work that makes actors look their best on screen, to the extraordinary prosthetic transformations that make actors unrecognisable — the makeup and hair department operates at the intersection of art, science, and craftsmanship. Kazu Hiro adding 35 years to Gary Oldman’s face as Winston Churchill, Adrien Morot creating Brendan Fraser’s 600-lb body for The Whale, and the effects team behind The Substance — these are some of cinema’s most astonishing practical achievements.
The makeup and hair department covers beauty, character, period transformation, and special effects — often requiring teams with very different skill sets working in parallel.
Oscar winners for Best Makeup and Hairstyling from 2010 to 2025. The category strongly favours character transformation and prosthetics work.
| Ceremony | Film | Makeup Team |
|---|---|---|
| 2025 · 97th | The Substance | Pierre-Olivier Persin, Magi Maret Kaal, Stéphanie Guillon |
| 2024 · 96th | Maestro | Kazu Hiro, Kay Georgiou, Lori McCoy-Bell |
| 2023 · 95th | The Whale | Adrien Morot, Judy Chin, Anne Marie Bradley |
| 2022 · 94th | The Eyes of Tammy Faye | Linda Dowds, Stephanie Ingram, Justin Raleigh |
| 2021 · 93rd | Ma Rainey’s Black Bottom | Sergio Lopez-Rivera, Mia Neal, Jamika Wilson |
| 2020 · 92nd | Bombshell | Kazu Hiro, Anne Morgan, Vivian Baker |
| 2019 · 91st | Vice | Greg Cannom, Kate Biscoe, Patricia Dehaney |
| 2018 · 90th | Darkest Hour | Kazuhiro Tsuji, David Malinowski, Lucy Sibbick |
| 2017 · 89th | Suicide Squad | Alessandro Bertolazzi, Giorgio Gregorini, Christopher Nelson |
| 2016 · 88th | Mad Max: Fury Road | Lesley Vanderwalt, Elka Wardega, Damian Martin |
| 2015 · 87th | The Grand Budapest Hotel | Frances Hannon, Mark Coulier |
| 2014 · 86th | Dallas Buyers Club | Adruitha Lee, Robin Mathews |
| 2013 · 85th | Les Misérables | Lisa Westcott, Julie Dartnell |
| 2012 · 84th | The Iron Lady | Mark Coulier, J. Roy Helland |
| 2011 · 83rd | The Wolfman | Rick Baker, Dave Elsey |
| 2010 · 82nd | Star Trek | Barney Burman, Mindy Hall, Joel Harlow |
The Prosthetics Bias: The Oscar for Best Makeup and Hairstyling has a well-documented tendency to reward visible prosthetic transformation over invisible beauty work. Critics of the category note that films where makeup creates extraordinary faces — Darkest Hour, The Whale, Vice, Maestro — dominate the winner’s list, while the equally skilled work of making actors look naturally beautiful or naturally aged goes unrecognised. The MUAHS Guild Awards partially correct this with separate categories for contemporary and character/period work.