Pedro Paiva on Shaping Identity Through Make-up and Wigs

Few artists can boast the versatility that Pedro Paiva brings to the table. From crafting show-stopping looks for drag performers on RuPaul’s Drag Race, to perfecting high-fashion styles for editorial shoots like Vogue Italia, Pedro's expertise in wig and makeup artistry spans across a dazzling range of industries. But it’s the world of theatre that truly allows their creative flair to shine. As a seasoned pro with a knack for character transformation, Pedro has worked behind the scenes on some of the West End's most beloved productions, including their role as Head of the Wig Department for shows like Priscilla, Queen of the Desert and The Time Traveller’s Wife.

In this exclusive interview, we chat with Pedro about their journey into the industry, the art of creating unforgettable looks for stage and screen, and how their work has evolved over the years. Whether he's designing wigs that transport us to a different time, or sculpting faces that tell a story, Pedro’s artistry is always a perfect blend of creativity, precision, and flair. We dive deep into their experiences, the challenges of working with diverse platforms, and what keeps them excited for what’s next.

Your experience in the hair and makeup industry, especially in theatre, is impressive. Can you start by telling us what initially drew you to this field?

I’ve never been to theatre back home, when I arrived in London I started going and I feel in love with its magic like everyone else. My first theatre job was Head of Wigs and Makeup Department at the Royal Shakespeare Company on tour and with a Barbican residency. That job was so beautiful and I hold it with so much love in my heart and all the things I learned from the backstage of this magical place.

You've carried out extensive work in theatre, including roles as Head of Wig Department for various West End productions like Priscilla the Party and Time Traveller's Wife. What have you enjoyed about working in theatre?

Working in theatre allowed me to a somehow comfortable life in London. There is an inherent transparent freedom to it even though you end up doing 70 hour weeks. I guess the freedom of not doing an office job and being surrounded by energetic creative people gives you that sense.

Your work spans various forms of media, including theatre, TV, and editorial shoots like Vogue Italia. How do you adapt your techniques for different platforms?

This is a really interesting question that I can spend hours talking about. You really have to adapt your labour to the project you’re in. In theatre you can get away with so much more than a 4K camera. You encounter different challenges and work with different meticulous work.

For TV, for example, you can’t use the same density front lace in wigs that you would use in theatre, you need a finer more invisible and hard to work with lace material. I usually buy mine from the Wig Department, regardless from the job. They are an incredible company. Makeup is a whole other conversation too.

Pedro has crafted more than 10 stunning wigs for RuPaul’s Drag Race UK, US, and Spain, pushing creative boundaries with bold textures and innovative designs.

You've also styled wigs for Drag Race in multiple countries. How does working with drag performers differ from your other projects?

I personally find drag wigs particularly challenging to create and interestingly enough is probably where I find the most rewarding feeling. You use techniques from theatre and TV in order to achieve the look, but the costumer is paying quite a lot of money for a single piece / sculpture (specially because drag is not an art form that is exactly financially viable, unfortunately like many other art forms, so I really try to make justice to the economical structure the person is in). So you have to make it incredibly resistant and to try to extend it’s longevity, without loosing your signature skills.

Collaboration seems key in your roles. Can you share a memorable experience working with a designer or director that had a significant impact on a project?

That’s right, it’s essential. I feel extremely lucky to have encountered the right people in my professional path. I have worked with many people in high places but my most memorable collaboration is with truthfully a person that I hold in a very high regard, Louis Souvestre. I’m always in awe of him and when we have the chance to work together I know I’m gonna have a very special time. I always find it hard to describe his genius brain, skill, personality and etc. because I don’t think I’m familiar with the right vocabulary to make justice to him. He will agree with this as a fellow foreigner, LOL.

And do you have a project that has been most memorable?

I think from recent times, the obvious answer is working on  “Eusexua” Fka Twigs new album, but apart from that amazing project, I would say that doing Julius Ceaser at the RSC, was an experience that I met amazing people that I carry in my person life till this day.

Your skills are incredibly diverse, from natural and drag makeup to SFX and editorial. Is there a particular style or technique you enjoy the most?

In the past, drag. In the future, prosthetics.

I came from the drag world, there is nothing more satisfying than finishing a good mug. You feel powerful and in a utopian way, beautiful. As any other human being in constant metamorphosis, I’m digressing to other themes. I really feel like we are just scratching the surface in art between prosthetics and AI.

Pedro worked as the Hair Assistant to Louis Souvestre on the music videos and on campaigns for FKA Twigs' latest album, Eusexua.

As a queer professional in the beauty and wellness industry, how has your identity influenced your work and interactions within the industry?

I would swap a few words around and say that the industry influenced my identity.

Let’s just say that I have physically looked like many of my characters because of this industry. Constant and incessantly transforming myself, due to my accessibility to this easy transformative tools. But I love it, I love my many dualities, my many dichotomies in my identity. I’ve come along way but I accept my inner waves.

Pedro worked as the Hair Assistant to Louis Souvestre on the Miss Sixty x Mowalola Collection, collaborating with designer and singer Mowalola to bring bold, avant-garde looks to life.

What's next for you, Pedro? Are there any upcoming projects or goals you’re excited about?

Right now I have differed a for a little bit this industry and I have a business alongside my chosen moms, called a Love Affair Basement. A space for art and culture in east London. It’s my testimony to art in the world and that’s keeping me well occupied.

When it comes to my original work roots, there might be my biggest project to date happening next year which is very exciting personally, but I trust faith and the course of things and that everything happens for a reason so I’m keeping my hopes low.

Pedro’s got their hands full, whether it’s shaping East London’s art scene or gearing up for what could be his biggest project yet. Whatever comes next, it’s bound to be something worth watching. Keep up with them on Instagram to see where the journey leads.