“Every makeup artist has their own style, but it was really important to keep what was passed down,” says Naomi Hibino, the kabuki makeup artist behind director Sang-il Lee’s “Kokuho,” a mesmerizing tale of centuries-old Japanese theatrical tradition told through a lens of friendship, rivalry and the cost of pursuing perfection. Orphaned Kikuo (Ryô Yoshizawa) is taken in by a renowned kabuki actor (Ken Watanabe) and raised alongside his son Shunsuke (Ryûsei Yokohama), as the two devote their lives to mastering the stylized art. Their breakthrough arrives with a performance of Temple Maiden, a dance tracing the love and envy of two maidens who turn into serpents. Together with kabuki hairstylist Tadashi Nishimatsu — Kyoko Toyokawa did the film’s non-performance hair and makeup — Hibino blended faithful Edo era references with visual distinctions between characters. “Shunsuke is from a well-to-do family, so I wanted to give him a vibrant, youthful and also a cute look,” notes Hibino. “The way I imagined Kikuo was to keep it simple, so the simplicity is reflected in the makeup. [In Temple Maiden] it’s really subtle, but the edge of the eye is a little different. I made [Kikuo] look more down-turning.” Hibino applied the white foundation (oshiroi) using methods from the theater, refining it for film to look more “beautiful and delicate.” Hints of pink eye shadow, dark eyeliner, red pigmented eyebrows and crimson lipstick complete the transformation — the next “national treasure” has taken the stage.
“Every makeup artist has their own style, but it was really important to keep what was passed down,” says Naomi Hibino, the kabuki makeup artist behind director Sang-il Lee’s “Kokuho,” a mesmerizing tale of centuries-old Japanese theatrical tradition told through a lens of friendship, rivalry and the cost of pursuing perfection. Orphaned Kikuo (Ryô Yoshizawa) is taken in by a renowned kabuki actor (Ken Watanabe) and raised alongside his son Shunsuke (Ryûsei Yokohama), as the two devote their lives to mastering the stylized art. Their breakthrough arrives with a performance of Temple Maiden, a dance tracing the love and envy of two maidens who turn into serpents. Together with kabuki hairstylist Tadashi Nishimatsu — Kyoko Toyokawa did the film’s non-performance hair and makeup — Hibino blended faithful Edo era references with visual distinctions between characters. “Shunsuke is from a well-to-do family, so I wanted to give him a vibrant, youthful and also a cute look,” notes Hibino. “The way I imagined Kikuo was to keep it simple, so the simplicity is reflected in the makeup. [In Temple Maiden] it’s really subtle, but the edge of the eye is a little different. I made [Kikuo] look more down-turning.” Hibino applied the white foundation (oshiroi) using methods from the theater, refining it for film to look more “beautiful and delicate.” Hints of pink eye shadow, dark eyeliner, red pigmented eyebrows and crimson lipstick complete the transformation — the next “national treasure” has taken the stage.
“Every makeup artist has their own style, but it was really important to keep what was passed down,” says Naomi Hibino, the kabuki makeup artist behind director Sang-il Lee’s “Kokuho,” a mesmerizing tale of centuries-old Japanese theatrical tradition told through a lens of friendship, rivalry and the cost of pursuing perfection. Orphaned Kikuo (Ryô Yoshizawa) is taken in by a renowned kabuki actor (Ken Watanabe) and raised alongside his son Shunsuke (Ryûsei Yokohama), as the two devote their lives to mastering the stylized art. Their breakthrough arrives with a performance of Temple Maiden, a dance tracing the love and envy of two maidens who turn into serpents. Together with kabuki hairstylist Tadashi Nishimatsu — Kyoko Toyokawa did the film’s non-performance hair and makeup — Hibino blended faithful Edo era references with visual distinctions between characters. “Shunsuke is from a well-to-do family, so I wanted to give him a vibrant, youthful and also a cute look,” notes Hibino. “The way I imagined Kikuo was to keep it simple, so the simplicity is reflected in the makeup. [In Temple Maiden] it’s really subtle, but the edge of the eye is a little different. I made [Kikuo] look more down-turning.” Hibino applied the white foundation (oshiroi) using methods from the theater, refining it for film to look more “beautiful and delicate.” Hints of pink eye shadow, dark eyeliner, red pigmented eyebrows and crimson lipstick complete the transformation — the next “national treasure” has taken the stage.
“Every makeup artist has their own style, but it was really important to keep what was passed down,” says Naomi Hibino, the kabuki makeup artist behind director Sang-il Lee’s “Kokuho,” a mesmerizing tale of centuries-old Japanese theatrical tradition told through a lens of friendship, rivalry and the cost of pursuing perfection. Orphaned Kikuo (Ryô Yoshizawa) is taken in by a renowned kabuki actor (Ken Watanabe) and raised alongside his son Shunsuke (Ryûsei Yokohama), as the two devote their lives to mastering the stylized art. Their breakthrough arrives with a performance of Temple Maiden, a dance tracing the love and envy of two maidens who turn into serpents. Together with kabuki hairstylist Tadashi Nishimatsu — Kyoko Toyokawa did the film’s non-performance hair and makeup — Hibino blended faithful Edo era references with visual distinctions between characters. “Shunsuke is from a well-to-do family, so I wanted to give him a vibrant, youthful and also a cute look,” notes Hibino. “The way I imagined Kikuo was to keep it simple, so the simplicity is reflected in the makeup. [In Temple Maiden] it’s really subtle, but the edge of the eye is a little different. I made [Kikuo] look more down-turning.” Hibino applied the white foundation (oshiroi) using methods from the theater, refining it for film to look more “beautiful and delicate.” Hints of pink eye shadow, dark eyeliner, red pigmented eyebrows and crimson lipstick complete the transformation — the next “national treasure” has taken the stage.
“Every makeup artist has their own style, but it was really important to keep what was passed down,” says Naomi Hibino, the kabuki makeup artist behind director Sang-il Lee’s “Kokuho,” a mesmerizing tale of centuries-old Japanese theatrical tradition told through a lens of friendship, rivalry and the cost of pursuing perfection. Orphaned Kikuo (Ryô Yoshizawa) is taken in by a renowned kabuki actor (Ken Watanabe) and raised alongside his son Shunsuke (Ryûsei Yokohama), as the two devote their lives to mastering the stylized art. Their breakthrough arrives with a performance of Temple Maiden, a dance tracing the love and envy of two maidens who turn into serpents. Together with kabuki hairstylist Tadashi Nishimatsu — Kyoko Toyokawa did the film’s non-performance hair and makeup — Hibino blended faithful Edo era references with visual distinctions between characters. “Shunsuke is from a well-to-do family, so I wanted to give him a vibrant, youthful and also a cute look,” notes Hibino. “The way I imagined Kikuo was to keep it simple, so the simplicity is reflected in the makeup. [In Temple Maiden] it’s really subtle, but the edge of the eye is a little different. I made [Kikuo] look more down-turning.” Hibino applied the white foundation (oshiroi) using methods from the theater, refining it for film to look more “beautiful and delicate.” Hints of pink eye shadow, dark eyeliner, red pigmented eyebrows and crimson lipstick complete the transformation — the next “national treasure” has taken the stage.
“Every makeup artist has their own style, but it was really important to keep what was passed down,” says Naomi Hibino, the kabuki makeup artist behind director Sang-il Lee’s “Kokuho,” a mesmerizing tale of centuries-old Japanese theatrical tradition told through a lens of friendship, rivalry and the cost of pursuing perfection. Orphaned Kikuo (Ryô Yoshizawa) is taken in by a renowned kabuki actor (Ken Watanabe) and raised alongside his son Shunsuke (Ryûsei Yokohama), as the two devote their lives to mastering the stylized art. Their breakthrough arrives with a performance of Temple Maiden, a dance tracing the love and envy of two maidens who turn into serpents. Together with kabuki hairstylist Tadashi Nishimatsu — Kyoko Toyokawa did the film’s non-performance hair and makeup — Hibino blended faithful Edo era references with visual distinctions between characters. “Shunsuke is from a well-to-do family, so I wanted to give him a vibrant, youthful and also a cute look,” notes Hibino. “The way I imagined Kikuo was to keep it simple, so the simplicity is reflected in the makeup. [In Temple Maiden] it’s really subtle, but the edge of the eye is a little different. I made [Kikuo] look more down-turning.” Hibino applied the white foundation (oshiroi) using methods from the theater, refining it for film to look more “beautiful and delicate.” Hints of pink eye shadow, dark eyeliner, red pigmented eyebrows and crimson lipstick complete the transformation — the next “national treasure” has taken the stage.
“Every makeup artist has their own style, but it was really important to keep what was passed down,” says Naomi Hibino, the kabuki makeup artist behind director Sang-il Lee’s “Kokuho,” a mesmerizing tale of centuries-old Japanese theatrical tradition told through a lens of friendship, rivalry and the cost of pursuing perfection. Orphaned Kikuo (Ryô Yoshizawa) is taken in by a renowned kabuki actor (Ken Watanabe) and raised alongside his son Shunsuke (Ryûsei Yokohama), as the two devote their lives to mastering the stylized art. Their breakthrough arrives with a performance of Temple Maiden, a dance tracing the love and envy of two maidens who turn into serpents. Together with kabuki hairstylist Tadashi Nishimatsu — Kyoko Toyokawa did the film’s non-performance hair and makeup — Hibino blended faithful Edo era references with visual distinctions between characters. “Shunsuke is from a well-to-do family, so I wanted to give him a vibrant, youthful and also a cute look,” notes Hibino. “The way I imagined Kikuo was to keep it simple, so the simplicity is reflected in the makeup. [In Temple Maiden] it’s really subtle, but the edge of the eye is a little different. I made [Kikuo] look more down-turning.” Hibino applied the white foundation (oshiroi) using methods from the theater, refining it for film to look more “beautiful and delicate.” Hints of pink eye shadow, dark eyeliner, red pigmented eyebrows and crimson lipstick complete the transformation — the next “national treasure” has taken the stage.
“Every makeup artist has their own style, but it was really important to keep what was passed down,” says Naomi Hibino, the kabuki makeup artist behind director Sang-il Lee’s “Kokuho,” a mesmerizing tale of centuries-old Japanese theatrical tradition told through a lens of friendship, rivalry and the cost of pursuing perfection. Orphaned Kikuo (Ryô Yoshizawa) is taken in by a renowned kabuki actor (Ken Watanabe) and raised alongside his son Shunsuke (Ryûsei Yokohama), as the two devote their lives to mastering the stylized art. Their breakthrough arrives with a performance of Temple Maiden, a dance tracing the love and envy of two maidens who turn into serpents. Together with kabuki hairstylist Tadashi Nishimatsu — Kyoko Toyokawa did the film’s non-performance hair and makeup — Hibino blended faithful Edo era references with visual distinctions between characters. “Shunsuke is from a well-to-do family, so I wanted to give him a vibrant, youthful and also a cute look,” notes Hibino. “The way I imagined Kikuo was to keep it simple, so the simplicity is reflected in the makeup. [In Temple Maiden] it’s really subtle, but the edge of the eye is a little different. I made [Kikuo] look more down-turning.” Hibino applied the white foundation (oshiroi) using methods from the theater, refining it for film to look more “beautiful and delicate.” Hints of pink eye shadow, dark eyeliner, red pigmented eyebrows and crimson lipstick complete the transformation — the next “national treasure” has taken the stage.
