This has been a season of extremes, beyond the weather. It is the summer of Barbenheimer, when movie theaters are packed for the first time in years. It is also the summer of a complete Hollywood shutdown. And for the first time in more than 60 years, both the Writers Guild of America (WGA) and SAG-AFTRA, the union that represents actors (and now some influencers) have gone on strike. The stakes are high: At issue are residuals, higher wages, staffing minimums, AI limits, and more.
Strikes are considered a last resort because they put many people out of work and can create damaging repercussions for the livelihoods of those who strike and those who stand in support. For example, WGA and SAG members’ commitment to not working or promoting existing work during negotiations has had serious ramifications for the International Alliance of Theatrical Stage Employees (IATSE), which is composed of a variety of behind-the-scenes artisans including hairstylists and makeup artists.
This group — which is not on strike — is made up of 362 local unions, including IATSE Local 706, which represents hair and makeup artists working on Hollywood productions, and Local 798, which encompasses over 22 Eastern states and the District of Columbia. (Representatives for IATSE Local 706 and 798 did not return our requests for comment on this story.)
These beauty professionals stand in support of the WGA and SAG strikes, but not working during this period presents a wide range of concerns, including the potential loss of health insurance. If IATSE members don’t work a certain number of hours a year, they stand to lose coverage. Just three years after Hollywood had to shut down amid the pandemic, the impact of lost wages is hitting particularly hard.
And this time, there’s a major difference: There’s no government relief package to help cushion the economic blow. SAG-AFTRA and the WGA have their own strike funds to benefit members, and the Entertainment Community Fund is available to help nonmembers affected by the work stoppage. In June, IATSE committed $2 million to help its members during the writers’ strike; however, with 170,000 members, that nets out to about $11 per person.
Allure speaks with 10 hairstylists and makeup artists, union and nonunion, to learn what they're up against and the ways in which the Hollywood strike is affecting how the beauty industry operates within the entertainment world. Some members agreed to speak only on the condition of anonymity to protect themselves and their projects.
These interviews have been edited for length and clarity.
Sarah Hindsgaul, Emmy-award nominated hair department head, member of IATSE Local 706
I had done all my prep [for Stranger Things season five] and then the WGA strike happened. The actors hadn't flown in yet. But I had done my part, which is three months of coming up with what everybody looks like. It's a lot of drawings, a lot of wig-making.
My biggest concern is my crew surviving this amount of time, since they have already been down for two months. Of course I am nervous when people throw out crazy dates [for when the strikes may end]. But I am hopeful, and the SAG contract has some things that might be able to protect [the crew] on set.
Some [beauty brands have been] working really closely with hair and makeup people, giving them work. My team is just trying everything to be creative with finding alternative jobs right now. We don't earn enough money to not earn money for months on end.
I think a lot of people think it's very glamorous work, which it is not. It's very hard, long hours. A normal day [for my crew] is between 12 to 16 hours. They are outside in 120 degree weather or -20 degree weather. It's a passion. It is an artistic job and I don't know anybody I work closely with who doesn’t absolutely adore their job.
I'm concerned [for the crew], but they are strong people and they're capable. My team has only shown support for [these strikes], even though it is not our union and not directly benefiting us. We are very supportive of our actors. As we take care of them, they take care of us — that's how it's always been. We need them to be cared for and they need us to be cared for. It’s like marriage.
There are so many people [involved], and we all need each other. We need the studio. We need the actors. We need the writers. But we also need to keep it modern, and we need to keep it fair.
Camille Friend, department head hairstylist and Oscar nominee, member of IATSE Local 706
The ongoing strike and the resulting lack of work have deeply impacted my personal and professional life. Before the SAG-AFTRA strike, I was eagerly preparing for a movie scheduled to begin filming in early fall. Even before that, my plans were derailed when another project I was to work on in June got postponed due to uncertainty in the industry and the looming possibility of strikes.
The entire entertainment industry is grappling with the repercussions. The uncertainty of financial stability weighs heavily on our minds, from managing mortgages and rent to supporting our families. Many of us also find ourselves juggling the responsibilities of caring for elderly parents, further adding to the complexity of our circumstances.
Despite these challenges, I believe we will emerge as a stronger and more united community. As artists, all we seek is fair compensation for our craft. In solidarity with actors and writers, I support their pursuit of just wages for their invaluable contributions. In the hair and makeup industry, we have a unique connection with the actors, and our greatest joy comes from collaborating to bring iconic characters to life on TV and film. We deeply cherish the artistry and creativity involved in our work.
It's important for the general public to understand that not every individual in the entertainment industry is a millionaire. Movie-making and TV production are collaborative efforts, and it takes all of us to bring great stories to life. From the writers shaping the scripts to the actors portraying characters and the hair and makeup artists adding the finishing touches, each contribution deserves fair recognition and livable wages.
Anonymous, hair department head, member of IATSE Local 706
I wasn’t affected by the 2007 writer’s strike, but from a distance, I did see how it was [impacting] people. When this strike was looming, I remember everyone talking about how people were losing their houses [during the 2007 strike]. I remember that so vividly that when I knew this was looming, I prepared like a crazy person because I was so afraid. In November, it seemed very imminent that the writers were going to strike, so I started to hunker down and not spend any extra money.
We know that we will go back to work at some point, we just don't know when. So it's the stress of, how far is your money going to stretch? There are people in my industry that I know — many people — who've been solidly out of work since December. It seems studios were expecting a strike and prepared accordingly. I can understand their side of it. They knew the writers were going to strike like I knew in November that I’d better prepare. Obviously, they're not going to rent trailers and a space and then if the strike happens, boom, they're liable to pay for all of that.
It’s hard for beauty supply retailers, too, who were just affected in this way by the pandemic. Hairstylists and makeup artists depend on Nigel Beauty Emporium and Naimie’s, private beauty supply companies. None of us are shopping, productions aren't buying in bulk — it hits them pretty immediately.
If you think about all the restaurants that are around the studios, they get affected too, because now no one's going out to lunch there and no one's having meetings at these places. It's really a huge impact on the community.
IATSE’s contract is up next year. I fear that if this goes on for too long, and then our contract is up, is everyone going to stand with us? Is everyone going to be like, “Okay, we just had a pandemic, we just had a huge strike, so you guys can't strike because no one can afford it,” and then IATSE gets screwed on a deal? It's definitely a thought in the back of our heads. Like, “Are you guys gonna stand with us?”
Courtney Hart, nonunion celebrity makeup artist
I do primarily press, red carpet, and editorial work with SAG actors. Due to the stipulations of the strike, which I support completely, actors are unable to participate in press, walk red carpets, attend festivals or conventions. Unfortunately, this means our work has come to a standstill as well, until this is resolved. Most of us are just beginning to fully come back to “normal” from Covid, so this is a massive blow.
Before the strike, I was booked for San Diego Comic-Con. Due to the rules of the strike, actors cannot participate, so all jobs fell through. Looking forward to September, I would have attended the Toronto International Film Festival, which I now assume will not take place as well.
My greatest concern for the nonunionized hair and makeup community is that we do not have protection: The rates we were getting from networks and studios — who are responsible for paying for [actors’ press and red carpet] glam 95% of the time — dropped dramatically post-Covid. Many of us are concerned that rates will drop again post-strike. We simply cannot afford to lose more than we already have.
This same concern goes out to all workers in the entertainment industry. It is clear that the networks and studios do not care if we are making livable wages and see us all as expendable.
[The public] may not understand how many people outside of WGA and SAG members are being deeply affected by the current strike. From hair and makeup to production assistants, catering, camera operators, PR, agents… the list is endless of the humans who are currently out of work and, most likely, not being treated fairly by the studios.
Shay Sanford-Fong, Emmy-award winning hairstylist, member of IATSE Local 706
I’m a single mother of two and I don’t have a job or a start date for a potential job in the future.
As hair and makeup artists, we don’t receive residuals, so one of the biggest concerns for us is that AI will take over and they truly won’t need us anymore as artists, which terrifies me. This is a crazy industry that I love, and it’s been around for 100 years — I hope we don’t lose that.
We love being artists. It’s something we are extremely passionate about. We are a union that is not easy to get into and we pay our dues to get in. We support the writers and actors, because without a crew — that is 150 to 200 people to run the show — the networks wouldn’t have anything. They need us.
Anonymous, award-winning makeup artist, member of IATSE Local 706
I'm preparing right now to go to work. We do not have the waiver yet, so we are all sitting on pins and needles. [Editor’s note: Independent productions unaffiliated with striking Alliance of Motion Picture and Television Producers members can apply for a waiver through SAG-AFTRA to continue work.]
The money that I will be making on this job, if it goes forward, will not pay my rent, because I am working on an independent production. There is no studio money backing it. I would be taking this job to keep my health insurance, because if I don't work a certain amount of hours within my six-month qualifying period, I will lose it. Basically, this job will give me a little bit more than unemployment, plus insurance hours.
I filed for unemployment prior to any of the strike stuff so I can get that measly $400 a week. Luckily, even if you filed for it after the strike, as long as you said, “My show just ended,” or “I lost my job,” as long as you don't mention the strike, you usually will get accepted. Because technically, if you're on strike, that's by choice. But [if you choose to work], your union looks at you like a scab. So you're screwed.
They keep saying October or November [for the strike to be resolved]. October, I could probably push it, but I will be on fumes financially. Do I take the chance now and move out of my home to lessen my [expenses], and then we get this resolved in three months and I've given up everything?
I also just got diagnosed with an autoimmune disease. I'm on medication for the rest of my life. If I don't have health insurance, starting in January of next year, what is my medication going to cost me? What are my doctor follow-up visits going to cost? If I don't have health insurance, I can't afford it.
Mara Roszak, nonunion celebrity hairstylist, co-owner of Mare Salon and founder of ROZ Hair
We had [a press tour] for Zoë Saldana’s show, Special Ops: Lioness, leading up to the strike. Her makeup artist, who is in the union, and I were flying back from London. We were waiting to hear if the press was going to continue on or if it was going to end with London. We were continuing in LA and New York if SAG didn't strike, but it was looking like it was going to come to that, so my work ended once we got back to Los Angeles.
The idea is that artistic contribution is replaceable, but the bottom line is that we’re not — actors, writers, hair and makeup included. We’ve already seen such a decline in our value as artists, and I see this strike as a fight for the human side of artistry, for the value humans bring to the creative process and the end result.
Our specific jobs are so much more than what is seen; they’re also the environment we create and the space we hold. This community is strong, composed of incredibly intelligent, talented creators who will persevere, but change is ultimately needed. I'm hopeful that [the actors and writers] will be successful, because it’s a long-time coming. It's about the greater good.
Alexandra French, Emmy-winning makeup artist, member of IATSE Local 706
When I was on Euphoria, [someone] had said that she was hearing the [studios] were already working on AI. She was like, “They're gonna scan actors, then they're going to put them in, and then our jobs are not going to be needed.” For example, they'll scan Zendaya’s face and take her words from other movies and make it into a movie and do hair, makeup, wardrobe, everything in post. I was like, “Oh, come on. That's not gonna happen.” But this was before everyone was talking about AI and doing the [viral] AI pictures and stuff.
If we just let this go, it will never be the same. Most people who work in hair and makeup do background work. Not just actors! I think that's why everyone knows, like, “Holy shit, our entire career is on the line.” It trickles down to restaurants and catering and laundromats. Anything you can think of. The whole city [of Los Angeles] runs on this industry.
Anonymous, makeup artist, member of IATSE Local 798
IATSE is not on strike, but it's important to everyone I've spoken with that we support the workers who are. The strike has been a financial and emotional strain, but in a different way, uplifting.
Artists in America have been told things like, “Get a real job,” or “You should take every single opportunity, because it's not about the money,” and "Do what you love and you'll never work a day in your life,” and many other platitudes that lead to working people getting taking advantage of. The strikes demonstrate that we're no longer buying these soundbytes.
Like workers in the hotel industry, hospitals, UPS, Starbucks, Amazon, and many, many others, we're standing up and saying that people on their feet all day deserve better pay — and that CEOs with yachts and rocket ships can afford to be paid a little less.
In film, TV, and theater, we like to say "the crew is a family." Do these sound like family companies to anyone?
My biggest concern is about the push for AI in the entertainment business and other industries. We've seen cashiers replaced by self-checkout, retail workers replaced by online shopping, and auto workers replaced by robots or their jobs shipped overseas. CEOs in a lot of industries seem to love to treat their human resources as expendable. That's what SAG and the WGA are fighting, and it's why hairstylists and makeup artists are standing in solidarity. American jobs matter.
The SAG fight for AI restrictions, of course, would benefit IATSE, but they are also fighting for an entire cultural shift, where the mark of a financially healthy company isn’t one that cuts costs everywhere except for millionaire and billionaire paychecks. Netflix lost $18 billion dollars in the stock market recently — that could have funded the WGA asks for the next 36 years!
Pay the workers. A friend who worked on Wall Street said, "They always have the money." The people who create the product deserve a fair share. If we as a country continue to fight for fair wages for workers, and decide that CEOs making about 400 times more than their lowest paid employees are the problem, then we'll all be better off.
Barry Lee Moe, Emmy-winning hairstylist, member of IATSE Local 798 and 706
I was one of the lucky ones who continued to work through the first month of the WGA strike. But as things progressed, I had two productions shut down before the SAG strike, one episodic and one feature. When things resume, I’ll have two projects to finish, and it’s likely that my fall projects will be delayed. Scheduling becomes a nightmare in these scenarios. Not only have we lost so much work this summer, we may also lose work due to scheduling conflicts in the future.
With no award shows, press junkets, or movie premieres, a huge amount of money is being lost, money most hair and makeup artists living in Los Angeles and New York City cannot afford to go without. A large percentage of our industry lives paycheck to paycheck, while the talent they support and the producers they answer to are looking at multimillion dollar vacation homes. The pay disparity is disgraceful.
It’s clear that our entire industry is changing. Technology will impact our future in many ways, but what I fear most is that we will lose some of the great artists that exist in this industry to another career. A career that provides them with a comfortable, stable life — a life this industry should have no difficulty offering. They certainly don’t hold back when it comes to cutting checks for CEOs.
The inflated salaries of the few are driving below-the-line workers and actors out of this industry at an alarming rate. They simply can’t handle the roller coaster of uncertainty any longer. We’re not looking to get rich overnight, we just want to enjoy some of the comforts that those above the line enjoy at our expense, like owning a home.
Read more about the intersection of beauty and entertainment:
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- How They Made Harrison Ford Look 40 Years Younger in Dial of Destiny
- Why Melissa McCarthy’s Eyebrows Are Uneven as Ursula in The Little Mermaid
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