Flávia Shishov is a Brazilian artist whose journey began in the world of ballet. She started dancing at the age of four in Brazil and, after winning a scholarship in a ballet competition, moved to Vienna to train at the ballet school of the Vienna State Opera. She went on to have an 18-year career at the Vienna State Opera, performing a vast repertoire and working with renowned choreographers.
Her passion for makeup artistry grew from her love of drawing, painting, and the transformative power of makeup in character creation. After transitioning into this field, she trained in SFX makeup, theatrical makeup, beauty and TV makeup, hairstyling, and also completed a wig seminar.
Flávia has worked as a makeup artist at Theater an der Wien, the Vienna State Opera, and various productions as a freelancer. She is currently part of the makeup team at Bühne Baden Theater in Austria, where she brings her artistic vision and stage experience to life.
Flávia Shishov: Makeup artistry is something I’ve been interested in my whole life. I've always been drawn to the creative aspects of drawing and painting, beyond just the beauty side.
During my last years as a ballet dancer, I started seriously thinking about my future. As dancers, we tend to live in the present. We are fully immersed in it, but we are kind of afraid to think that there is an expiry date. But we know that sooner or later, that day will come. So I was giving a lot of thought to my passions outside of dance.
For artists like us, it's hard to pursue just any career. We're moved by passion and need to find something that truly inspires us. I asked myself, "What other hobbies do I love? Could I make a living from them?"
There were many times when I experienced injuries and knee pain, and was watching the women from the makeup department, thinking how nice it would be to be on the other side - but still within the theatre environment. And given my interest in drawing and painting, makeup artistry seemed like a natural fit, and I thought, “Why not?” That's how I made the decision to go down this new path.
Flávia: I got my qualification through a program supported by an initiative called WAFF (Wiener Arbeitnehmer*innen Förderungsfonds), which was introduced to some dancers at a meeting at the Vienna State Opera. WAFF provides financial assistance, coaching, and guidance around making a career transition. Back then, they offered about 6,000 euros towards education.
At first I thought I should do the full technical “Maskenbildner” (Makeup Artist) accreditation, but it’s a long and very expensive course. After researching various alternative options, I chose a six-month special effects makeup artist course. It was an intensive program, running Monday to Friday from 9 AM to 2 PM. It was really like a school, with plenty of theory, papers, and tests, as well as the actual makeup skills. The curriculum was comprehensive, covering everything from basic beauty makeup to advanced special effects techniques. I learned a lot, and it was very intense. The school has now unfortunately closed.
We started with fundamental skills like nude makeup, evening looks, and vintage styles. As the course progressed, we delved into more complex areas such as special effects, including applying bald caps, creating facial moulds for masks, and body painting. The program also included theoretical components, teaching us about cosmetics, chemical handling, and hair styling and wig work.
After I got my diploma, I realised that I had never done a job interview before - only dance auditions. So it was really helpful that after completing the official course, the same makeup program also offered workshops and coaching on things like how to do your CV and how to present yourself.
I knew that I lacked the full formal qualification for employment at the State Opera, but I managed to get part-time work at the Theater an der Wien and some temporary jobs at the State Opera. I was also freelancing, doing makeup for things like photoshoots and private events or parties. I said yes to everything. It was very interesting, but after having a fixed full time contract for so long, I missed the security of a regular salary and schedule. The goal was to have a regular, fixed contract.
My teacher had advised us to showcase our makeup work on social media, where I connected with an old friend who is the head of the makeup department at the theatre in Baden, which is close to Vienna. He saw that I had made the career transition and congratulated me on entering the makeup industry. He then asked if I was interested in a fixed position, although he knew I didn’t have the full formal education. However, they were in need of makeup artists, and he decided to give me a shot. Since then I’ve been working fulltime in the makeup department at Bühne Baden.
It’s now fun to be on the other side, contributing to the performance in a different way
Flávia: Yes, it's been a passion of mine since childhood. I've always had a love for drawing, creative expression, and dressing up.
Growing up, my friends and I would often say that the best part of going to a costume party was the preparation beforehand. I found so much joy in dressing up and transforming into different characters. It was like becoming someone else for a while, which was incredibly fun and exciting for me.
Flávia: It's very important - I'd say it contributes a lot to embodying a role. Of course, the talent and inner connection to the character has to come from the artist themselves, but when they see themselves transformed into that role through makeup and costume, it really helps enhance their performance.
Flávia: Oh yes, many. It's quite different, even though I'm still in the theatre environment. I think my background gave me some advantages. Maybe that's why they gave me a chance at Theater an der Wien, because I knew what it was like on the other side. I know how it feels to have a wig on my head, and how secure it has to be. But still, once I found myself on the other side, I realised the responsibility of getting everything right. I realised how judgmental I had been as a performer, always wanting my hair to be perfect. I never considered how the makeup artist might feel - perhaps nervous or under pressure. Now that I'm in that role, I sometimes feel nervous about getting everything right.
This perfectionism probably comes from my ballet background. We're trained to be extremely self-critical and to aim for perfection from the start. I struggled with this initially, but it has gotten better with practice.
Another challenge is the speed required in this job. I love painting and drawing, but I take my time; in theatre, you might have just 20 minutes to complete a full makeup look and wig styling before the performer needs to be ready. Also, quick changes backstage can be particularly stressful. For example, when I worked on the musical Spamalot, I was assigned to the soloist who played five different characters. Some costume and makeup changes had to be completed in less than a minute. It was incredibly intense. At times, you just have to do your best and hope everything stays in place during the performance.
So although the challenges are different, they exist in the same world of theatre. I’m lucky I already had some experience with that.
Flávia: Actually, no. People ask me that often. When I stopped dancing, I was truly ready for a new phase in my life. Although the decision wasn't entirely mine - the new director let go of all the mothers in the company, and some tried to fight the decision, but I didn't take it personally. We had a good conversation about it. He had his own vision and people he wanted to bring in. As long-time dancers and mothers, we were more expensive. Being a choreographer, he needed to bring in his own pieces and probably needed the budget. For me, it felt like a kick from the universe saying, "Move on, woman." I was 37 years old, and I had to accept that I couldn't be a ballerina forever. It was time for something new.
For me, it was better this way. The longer you take to do something else, the harder it becomes. We’re already starting our second careers fairly late - In my makeup course, I was the grandma of the group. They had all just finished school and they were 18 or 19. The next oldest was 25, and there I was at 37.
Of course, it’s never too late to do something new if you really want it. But I knew from the beginning that once I finished dancing, I didn't want to be a choreographer. That requires a specific talent that you need to have within you. The same goes for teaching. My husband teaches, and I've realised it's not just about being able to dance - you need a passion for helping students learn and grow. I had tried teaching in Brazil, but I quickly realised it wasn't for me. So I knew I wanted to do something completely different.
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Flávia: I felt ready. When I was at the opera, watching from the wings, people would often ask me about it. I have to admit, there were moments when I even felt relief. I'd think, "Thank goodness I'm not in that Giselle line!” It was nice to be there, but I didn't wish to be on stage. Maybe that feeling will hit me in the future, but so far, I haven't experienced it. The closest I came to missing it was during a gala when they were performing Paquita. I thought, "Oh, that was nice," but I didn't have the urge to jump in and dance it myself. I've done it enough times, and I'm content where I am now.
Flávia: So many things. Ballet gives you a strong sense of discipline and teaches you how to work effectively within a group. We also learn how to accept criticism. Dancing in a theatre for many years, I got to know artists from many different countries, and now I know how to interact with different personalities, how and when to talk to them, how to not stress them. So there’s definitely a lot that I got from the dance world that you can apply to other professions.
You will always be a dancer, but ballet doesn’t define you.
Flávia: Networking is key because if you don't put yourself out there, then somebody else will. It's not always going to be the best experience, or sometimes you hesitate to take a chance because you think you’re not going to be good enough. But I learned to say yes to everything. I throw myself into new situations, and even if it doesn't work out perfectly, I see it as a learning experience that makes me stronger for the next opportunity.
My teacher talked about the importance of networking, and I’ve tried to take that advice. I’m not someone who naturally self-promotes - I'm not comfortable with the idea of making makeup videos for YouTube or offering coaching sessions. I'm a bit shy when it comes to that aspect of the business. I prefer focusing on the actual work rather than promoting myself. It feels good to be backstage now, out of the spotlight. It’s now fun to be on the other side, contributing to the performance in a different way.
Flávia: It's not easy. I was lucky to find my path quickly, but I have many friends who struggled for a long time. I think you really have to self-reflect, to think, to look inside yourself and ask, "What makes me happy?" As dancers, we're used to our hobby becoming our job. While I'd work anywhere if I needed to support my family, it's important to first consider what will bring you fulfilment and prevent frustration. Ask yourself, "What do I do that brings me joy?" Once you identify that, you can explore further opportunities.
Flávia: I think our identities are constantly evolving throughout our lives, not just because of our jobs. I've definitely noticed some changes in myself since retiring from dance, and I hope they're for the better. The ballet world is wonderful, but it can sometimes feel like a bubble. Stepping out of that world and into something new has helped me grow as a person. But ballet has also shaped who I am today in many ways - it's because of ballet that I am who I am today.
My interest in hair and makeup has always been there. I used to help my sisters with their hair and makeup, and I always did my own for performances. The difference now is that I have more time to dedicate to this passion, and I'm getting paid to explore this other world. It's allowing me to grow in new ways and learn different skills.
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Flávia: First of all: don’t freak out! Take your time and avoid rushing into decisions. Don’t be scared to try something new. You will always be a dancer, but ballet doesn’t define you. Try to find what inspires you, what makes you happy, otherwise, you risk becoming frustrated. I've seen this happen with some dancers who quit but can't let go of their past identity. In the end, they suffer from it. I don't judge those who are still at this point, but my advice would be to avoid rushing.
Self-reflect, focus on what's important to you, and then work out how you can turn that into a living. It's not always easy, and sometimes it takes time. It might not work out perfectly from the beginning, but your efforts will count for a lot. You have to go for it – opportunities won't just fall from the sky. In my case, I was lucky, but I also put myself out there. I'm very grateful and happy to be where I am now.
Top image by Marcus Miedla
