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Hair, wigs and make-up design

The Challenge

Please ensure that these elements are in your final research and designs:

  • Produce a sketchbook that shows initial research on the opera as well as sketches that communicate hair and make-up designs for five characters.

Your research should show your personal ­– as well as artistic – response to the themes and context of the opera or ballet. This should include an exploration of the issues raised in the opera and how the production you are working on reflects them.

  • Produce your final design for one of these characters and provide photographic evidence of your model.

Director's Visions

The close collaboration and full understanding between a director and a designer is an essential part of every production and crucially important to the successful execution of the conceptual vision of the director.

The design can and should be very much another protagonist within the story, not remaining in the background as something merely aesthetic but enabling, enhancing and facilitating the narrative in its chosen structure. It provides the space in which the story unfolds, the distances and hiding places where the characters make their choices. Remember that visual aids help us understand psychological situations and changes; in which case the set is the most important visual aid we have. Everything on a stage should be there for a reason, to aid the story. Often, less can be more. Giving room to imagination is a gift to the audience and keeps them involved as the story unfolds.
Please download the Director's Visions for 2017/18 here. Choose one of the four Director’s Visions to focus your design ideas.

In your final design you will need to show concrete knowledge of the production and of opera or ballet as an art form, with a clear demonstration of how this knowledge informs your design ideas.


Research questions

The following list is a research guide:

  • What practicalities do you need to think about when designing hair, wigs, and make-up for this opera? What is the story and how is it split across the acts?
  • Who are the main characters?
  • Why do we wear make-up on stage?
  • What are the differences between stage and beauty make-up?
  • What can hair, wigs, and make-up tell us about characters and the story?
  • What do hair and make-up styles say about the character - for example, who the character is (e.g. uniform, gender, status, wealth, occupation, age), where the character is (e.g. inside, outside, in the city, in a desert) or what the occasion is (e.g. formal, informal)?

Useful resources

Understanding your Client:

Royal Opera House website
FILM: What we do - the Royal Opera House
IMAGES: The Royal Opera House Flickr page

Make up and wigs:

FILM: Overview of wigs
FILM: Ugly sister time-lapse
FILM: Salome head make up

 Submitting entries

Students will need to submit entries to their school or college first for internal judging. Teachers will then submit 1 entry for every 20 students as their finalist(s). Institutions should then send the following materials for each finalist to the Royal Opera House:

  • Three quality photos of the student’s completed design
  • College internal judging notes about the entry, including why they have been selected as a finalist
  • A 90 second video of the student pitching their design. They should use their sketchbooks to help demonstrate how they have responded to the brief and the Directors Vision.

Visit our Winners' page to see details of past winner's work.

Judging process

Visit our judging page to watch a short video filled with advice from past judges.

Design Challenge receives generous philanthropic support from the Paul Hamlyn Education Fund.