If we’ve learned anything from the show so far, then we should know that that is absolutely true. Natalie Minerva, aka Nail Swag, is the celebrity nail artist who is bringing yet another layer of personality and depth to the beloved series.
Behind the Euphoria cast’s perfectly primped and polished nails actually lies a macrocosm of meaning, and office sat down with the mastermind behind it all to get the details.
How did you get started with nail art? I know it takes a really steady hand, so did you have an interest in other forms of art before?
I was definitely always an artsy kid growing up. I wasn't big on TV or video games. I really was more interested in painting and making things, so that's definitely always been a part of me. And my whole family's like that too. My mom has always been that way. My grandma and both my sisters work with their hands too. One of them is a makeup artist and the other one is a chef. So it kind of runs in our blood. But originally, I started doing nails kind of selfishly. At the time, I was going to school and I didn't have a lot of money — but I wanted cool nails to go with my outfits because I worked for this really big party. It's called 'A Club Called Rhonda' and it's very eccentric, gay, straight, trans — just kind of a mixture, a mish-mosh of people. So I always wanted to bring it when I was there. I started doing my own nails and posting on Instagram and I started garnering some interest from friends and stuff. I thought, 'Maybe I should go to nail school and do this as a side hustle.' Then actually that year at Coachella, I was talking to a friend and they said, 'You should just go for it. You should do it. You love doing this.' And I thought, 'I really do. I can't stop thinking about doing nails.' So at Coachella I actually called my dad and I quit college and I went to nail school. And that was that, that was it. That's how I started Nail Swag.
That's amazing. But that's how it goes with anything that you're passionate about. Like you said, you couldn't stop thinking about it. That's when you know that you kind of just have to make that jump.
Oh, I was obsessed. And even to this day, I mean, I've been doing it for 11 years now. And I still feel that way. It's crazy. It's a really fun job. I get to work with so many different kinds of people and I get to make art every day. And I think making art in the traditional sense, like physically painting something or drawing something, is sort of more rare these days. Most art is in the digital form, so doing something in a more traditional sense is really cool to me. It brings me a lot of joy. And it brings other people joy too. It's a feel-good job.
How would you describe your artistic vision or just your general approach to nail art in three words?
In a very simplistic way, 'Read the room.' And what I mean by that is, when I see a person I immediately am trying to pick up on their style and their personality. I'm not gonna give hot pink nails to a girl who is kind of goth-y and wears a lot of black. It's really important to interpret their taste. That's another three words I'd use to describe my approach too — ‘interpret their taste.’ Another three words would be, 'Just have fun.' It should be fun. It should be filled with joy, you know? I always try to be in that mindset when I'm coming up with stuff and also talking to the person and interpreting what it is that they like and what they're feeling.
And I think that’s what makes this medium of art so unique. As you said, there's so much freedom to do out of the box things — especially now that you're working on Euphoria. When you're approaching these designs for the characters in the show, do you usually already have an idea in mind for a certain character or is it more of a collaborative process between you and them?
It's super, super collaborative. Alexa has such a creative mind. She and Barbie — and all of them — they know their characters best. So I really listen to what they have to say and their input. They always come up with really great ideas and then I'll kind of take that and we'll put our own spin on it. So usually, I'll make a few samples and then I receive guidance from them. They'll say things like, 'I like this one the best,' or 'Can we combine those two?' And, of course, Donni has input as well, and Sam, the director and creator. So it's really such a team effort. It's great because there are things that maybe I wouldn't have necessarily thought of myself, but when I get input from the actors and the team, new things come up. That's what the goal is, right?
Other types of art, like painting, can be more internal processes. It's an independent process most of the time — but this is so different. The cool part about this is that your canvas is someone who also has beneficial contributions. It makes these ideas come to life even more because you have many different minds working at it.
Clients, all the time, bring new concepts to me and I'm like, 'Oh my God, I would never have come up with that and it's epic.' I love it. And that brings new creativity to me as well. It's really a symbiotic relationship.
And I know even prior to Euphoria you've worked with other celebrities for red carpet looks and for editorials, but how did it feel joining the Euphoria team and starting this new chapter?
Oh my gosh. It's so gratifying and awesome because not only is it such a creative show, but everybody that I work with is amazing. Alexa has been such a good friend, truly. She's someone that I trust and she's a good person, and Barbie too. I mean — all of them, they're all amazing. That's been what I'm most grateful for. Not only do I get to create really interesting designs, but I get to work with people that I like and that I vibe with, and that's the ultimate goal — always, with any job. Working with people that you really appreciate and respect.
I read that you watched Season One of Euphoria and something that stuck out was the lack of nail art present, and how that was something you thought you could help with. Especially since it's a very artistic show. They're very focused on really displaying the style of each character and putting these powerful Gen Z trends at the forefront of fashion. So on that note, why do you personally think nail art has become something so synonymous with Gen Z style?
I think Gen Zs are really good at noticing and noting the details of things. And I think that might have something to do with their upbringing, because of them having more exposure to technology earlier in life. I mean, even Millennials, I'd say, are not as good at that because we kind of lived this half-life. The first part of our childhood had zero to do with technology. And then the second half had everything to do with technology. So it's kind of like we're in this sort of mid-zone, but with Gen Z, that's not the case. I think that they enjoy breaking these things down; I've noticed that on Tik Tok and stuff. Someone mentioned, in a radio interview I heard the other day, they called Gen Z the 'I Spy' generation. I thought that was really great because that makes so much sense for them. And I think Gen Z in general, with their style, they're a lot more exploratory and they're colorful. They're a very colorful generation. So nail art makes sense for them.
Definitely. You talked about 'the details,' and I think a lot of what your work is about is the details and the nuance and very small things that maybe sometimes you wouldn't even notice. That's something I really wanted to talk about because I love Euphoria. I'm literally about to watch tonight.
Oh yeah. Me too!
I'm very excited. Something that really stands out to me about this new season is how much growth we see in each character. It's not just one of them. It's all of them. That's a lot of what Season Two is about — showing that growth. How do you show that through your art with each character? Are there certain things that you feel like your work is heightening or showing to the audiences that are watching?
Definitely. For instance, with Cassie, she's going through a lot of transitions — clearly. Not necessarily positive ones, but she's going through transitions. And so with the nails, we kind of wanted to add a little more glitz and glamor for her. Because I think she's paying more attention to that part of herself — whether it's in a positive manner or for a boy or it's for herself — that's happening. Same with Maddy; she's finding her own self right now.
Yeah, she's kind of going the opposite direction.
Yeah, she's weaning away from the codependency with Nate and she's finding her own voice and her own identity. So the nails reflect this sleek, sexy independence. That's how I felt about it. And when talking to Alexa about it, we both wanted it to feel unique for her character.
Speaking of looks in Season Two, do you have a favorite nail look? Maybe it's something that we haven't seen yet?
I do have a favorite nail look and it is coming. There are actually two that I'm really, really in love with. I'll just say this — both are on Maddy. She brings it, you know?
I mean, everyone loves Maddy's style. She's always the style icon, so I'm ready for the nails.
One of them is like an Alexa brain-child, and it came out so cool. I love it. But you'll be seeing it soon. You'll know.
Okay. I'll make a mental note — I'll remember when watching that we talked about this.
You're gonna know....you're gonna know.
You're at such a pivotal moment right now, being a part of the show, and there's probably so much more growth down the road. How do you plan to continue growing in your work and just bringing new things to the table?
Well, first of all, I'm doing a collection with Mani Me, which is those stick-on gel stickers. That collection's coming out in March and there will be a Euphoria-inspired one, which will be really fun for the fans. I'm also doing a Coachella one, which will be really cute too. And yeah, I think for me, it's just about continuing to do really unique and creative work. That's what fuels me. Maybe some educational stuff too. Sometimes I think that the nail industry kind of lacks good education, so I've always wanted to do that, but it's never really been quite the right time because I'm so busy. Beyond Euphoria, I do Demi Lovato, I do Halsey, I do Paris Hilton. I'm constantly bouncing around from house calls. I also have this idea — I'm in the works of it right now — of doing a nail art exhibition at some point. And doing it properly. Doing it service. I just think that a lot of people look at nails as just beauty and I want people to look at nails as real art, you know?
Yeah. There's so much that goes into the process that I feel like a lot of people just aren't super aware of. That's why circulating educational information could be a really interesting concept.
It's definitely a plan. I'm talking with Apres Nails about doing some education with them.
Well, I'll look out for that. I need to learn more about it too. I love the creative aspect behind it, but I'm so bad at doing my own.
It takes time, it really does. Whenever I talk to beginners, I say, 'Just be patient with yourself.' My greatest advice is, if you are interested in doing nail art, try to do something nail art-related every day. And that doesn't necessarily mean doing nails, but maybe also looking up new trends or tutorials or just seeing what's going on in the industry at the moment. I think that's so important. Keeping up with the current styles is huge.
I think one of the most intriguing parts of Euphoria is that it almost predicts trends before they happen. The makeup, clothes, nails, hair — it all is projected by the show before we even see these trends forming in real life.
I think it has the potential to be one of those very iconic shows and Sam is just so creative as well. He makes the scenes so cinematic; it's almost like you're watching a bunch of movies which I think is super cool. It's definitely a generational marker.
Take a peek inside Natalie's inner workings through viewing some behind-the-scenes Euphoria photos below.
The thing about hair is that it always has this confounding question: What else can I do? Cornrows lead into box braids, which lead into a big chop or finger waves, and if you've ever seen a Hype Hair magazine — the list can go on and on. The wonderland of all things hair is a love that leads in the black community. We can all inherently share the same experiences and appreciation for twelve-hour knotless braids and the step-by-step process of wig installments. Malcolm Robinson is an artist of color that— without even trying, hones in everything that we adore about hair all into one. Since we know what's going on around the exterior of Marquez's head— let's dive deeper into his process and the interior of his perspectives. With a cute interview, Malcolm answers the questions we want to know. He also gives us a little peek into his polaroids. 'Wanna see? Keep reading.
This question is pretty simple. What is your life's mantra?
It's different every day depending on what my mind needs, but one that does repeat is, "go get what's yours."
At what age did hair become a staple in your identity?
I would say around 14. Like most teenagers, I was obsessed with changing my hair. It was a way for me to learn about myself. Hair has such a strong power to transform your mood or mindset that I tapped into early. I also found the practice of doing my hair to be meditative. It felt like a form of protection. It started as a self-exploration that as I learned, I wanted to share those same feelings with the people around me. That turned into me doing all my friends' hair and now it’s my life. It never really felt like work.
Do you remember the first hairstyle you ever did for yourself or for a client that was like — “this is it!"
As a professional, I would say that Tinashe’s Songs For You album cover was a big aha moment for me. As simple as the look was, there was a clear intention behind the shape. I was always attracted to hairstyles that break the rules a little. Blunt ends, different lengths, and looks that are slightly impractical. At the same time, it’s a reference to classic looks we have seen from artists like Lisa Left Eye and Janet, who eternally inspire. That look felt like a full activation of all those elements while giving a fresh timeless shape that Tinashe could own.
For BIPOC communities, hair has never been just hair. It details back to so many different accounts of oppression and opened windows of self-expression. How do you tie in culture within your art?
To be honest, I don’t feel like I am doing that consciously— it just happens! As a black hair artist, if I am putting down a blonde lace wig or a full head of braid, it is inherently a piece of culture. Being conscious of who I am and what I’m creating contributes to culture. It’s also important to be aware of those who came before you. Black hair is so dynamic because of how many different ways we have used hair as both expression and survival.
What is it like creating looks for so many clients who have different visions?
I love it. For me, it is about celebrating that individuality. When working with another artist, my goal isn’t to do anything more than help elevate and inspire a fresh look. It’s important to me that they still feel like themselves. What I appreciate about beauty is that — there is not a one size fits all look. It is individuality over everything. Always a collaboration of what’s feeding us both creatively.
I enjoy the creativity that Steve Lacy and yourself have in the braided hairstyles. What is the process behind those looks?
Thank you! Steve and I had wanted to put a look together for a while. Something about him playing with Erykah Badu felt like the right time to finally link up. We agreed that we needed an Afrofuturism moment. The spiral silhouette was inspired by a head crest sculpture that had towering spirals coming out of the head. Steve wears braids so well that it felt like the obvious choice to use braids as the foundation of the look. My hair bestie Fitch Lunar helped me construct the look. 100% favorite braid look I’ve done.
If you could work with anyone and give them a look of your choosing — from simple to avant-garde, who would it be and what?
I’d give Sade her signature braid.
What has been the craziest look you’ve done so far?
I made a sculptural piece for Symone during quarantine and, that was a moment. I recreated a look by Mathu Andersen originally worn by Ru Paul in the “Back To Your Roots” video. I had been spending lockdown hopping around Arizona, making pieces in Airbnbs, and shipping them to clients. When she requested the look, I had never met her and didn’t know it was about to be on Drag Race. The process of creating that piece influenced me creatively and happened under some crazy circumstances. It was even more rewarding to watch her win the whole season representing black beauty so proudly.
Are there any goals that you’re trying to achieve in this year of 2022?
2021 was already more fruitful than I could have imagined. It’s rebuilt my trust in divine timing and to not overthink what has happened each calendar year. It has taught me to be mindful of the journey. My only real goal is to continue to grow as an artist and a person.
As an emerging Gen-Z beauty artist with a growing social media following, Tisdale has faced her ups and downs with her artwork and its online presence. She primarily shares her work on Instagram, where her followers can engage with her and her art through posts, livestreams, and reels. While this digital existence has connected her to a community of beauty artists and makeup fanatics, it also can make her the target of internet hate and cyberbullies. In spite of the negative criticism, Tisdale has made it clear to her fans and foes that the only person’s approval she is interested in is her own. Her motivations for her work are not predicated on likes, comments, or shares, but rather the self-fulfillment she feels when creating art on her personal canvas— her face.
office caught up with Tisdale to discuss her viral 'cakeface' series from this past year, her relationship with social media, her artistic inspirations, and more.
Check out the interview below.
Tell me a little about yourself. How did you end up in beauty and fashion?
I feel like I always start with saying that it was very accidental. I've always been very involved in the arts. I went to a performance art camp for 10 years— painting, singing, dancing, pretty much everything that you could imagine. But having a career in the arts was like purely accidental. Because I started really getting into makeup as a form of art, and that being my main medium when the pandemic started. So I had way too much free time on my hands. I feel like a lot of other people might have had a lot of free time on their hands, especially when we went right into quarantine, coming from university and then going straight into quarantine. And I just was experimenting, trying different things, posting different things, and just kind of exploring and growing my skill set in makeup. And that's how I kind of came at the point where I'm at now, where it's kind of my main thing. It was definitely very accidental. But it's been very fun.
I love all your make-up designs— they’re so bold and innovative! Where does the inspiration come from for your artwork?
I pretty much feel like I can get inspired by anything. It could be food, it could be a couple of colors that I really like together. It could be a flower or an animal— I try not to limit myself to just one niche of things. One, because it's not fair to myself to kind of limit myself, but also because I'm always trying to push myself outside of my comfort zone. So taking inspiration from things that maybe you wouldn't expect to get inspiration from— that's something that I try to really do, just pull inspiration from the world around me.
Your ‘cakeface’ series was a huge hit this past year! Can you talk a bit more about the origins of this look?
So it was two things. One was flipping cake face, because I remember in high school, I didn't really wear makeup, and other people would. And sometimes people would be really mean to them about the amount of makeup they were wearing, using the term, 'cake face.' And I was like, 'That's really mean. Why is that a bad thing, if someone wants to wear makeup? Why are we making this a meme, when it could be really cool?' I wish when I was in high school I was trying the stuff that the other girlies were doing. But that was one thing: just flipping something that I grew up hearing that was very, very negative and very mean and meant to degrade other people, and turning it into something that's very creative— not even necessarily positive, but just interesting and intriguing and bright and colorful and just kind of whimsical.
Then the other thing is, last year or two years ago, I just started getting all these little bakeries on my (Instagram) Explore page. Do you know what I'm talking about? The little cakes, like tiny little cakes, that have a ton of frosting on them. And it's all very intricate. There's so many different little bakeries that are making these tiny little specialty cakes. And I was like, "Hmm, that'd be really cool if you just put that on your face somewhere." And that's where it really came from. So it was a combination of those two ideas.
Social media has been an important way to share your work and connect with fans of your art. How do you feel about your relationship with the internet?
I think the one thing about the internet is sometimes you think it's a battle with the internet, but it's really just how you, yourself, view the internet. It's not you versus the internet— it's you versus what you feel about the internet. I've definitely gotten better at this, but there was a point in time where I was just like, 'If I don't get enough likes on a post, then that means that my work wasn't good, and everybody hates it, and I need to take it down.' But that's just not the case. Because at the end of the day, did I like it? Did I think that it was good? Did I think that it was that it was a good piece of art that I made or a good makeup look that I did? My negative relationship I had with my thoughts about the internet and my thoughts about how my work was being consumed by other people forced me to change my mindset about my own work. The reason why I started posting on Instagram wasn't for other people. And it wasn't for likes, and it wasn't for attention. It was because I was exploring something, and trying something new, and wanting to get better at something that I was interested in, and just having fun. So my big thing that I've learned is the minute you feel like it's not fun anymore is when you need to reevaluate that relationship you have with what you think the internet is. So yeah, I mean, it's been ups and downs, but at this point in my Instagram career, I just kind of am like, 'I'm gonna post when I want!' Cause it's my like 'internet diary.' Like, it's my little documentary. So if I want to jot something down, I'm gonna jot it down. So being in the position I'm in has made me analyze my relationship with the internet and the internet itself much more closely because it's now become such a big part of my life because it's my job.
How do you think makeup can be used as a tool of empowerment?
I mean, you can do so much with it. Beyond just like, you know, eye shadow and your typical, everyday face— you can do so much with it in terms of transformation and bending the rules and breaking the rules and things like that. You kind of have to feel powerful when you have so many capacities and capabilities in your own hands, and can take that and use it to— not even to impress other people, but impress yourself. It doesn't matter if you're someone who's doing special effects or prosthetics, or if you're just doing a shimmery eyeshadow— there are just so many possibilities when it comes to makeup, and when it comes to using different products and such that the power is really in your hands, regardless of what it is you're trying to create. And I think that that's really cool.
Who are some of your style icons?
I look to a lot of my friends for inspiration and just the way they carry themselves like not even necessarily with makeup. Some of them are more on the makeup side, some of them are more in fashion and stuff like that, but the way that they carry themselves is so iconic. Like my friend Kimasa (she's @bby.plantain), @okaysophi, @sweetmutuals, @pradaolic— all of these people have totally honed all of their crafts. And the way they carry themselves is just so inspiring because they're just like, 'I'm going to do what I want to do, and I'm going to look good when I do it. And that's what you're getting for me, and this is what I have to give, and you can take it, but regardless, it's for me anyway, so who cares?' Those are the kind of energies I really look up to because it can be really easy to fall into the trap of the Internet where you feel like you have to perform for a crowd, when at the end of the day, you should just be doing this for you. When you're producing work that makes you happy, and makes you feel good about yourself— that's the best part of it.
Name one beauty product you can’t leave the house without.
I'm honestly gonna say like, a good lip gloss. I like the NYX Cosmetics Butter Gloss.
What’s next for you in your journey and your art?
I'm very excited to graduate, first and foremost. My next big thing is— obviously fingers crossed because I really don't want to jinx it, but I've already spoken it into the air, so I'm gonna say it— my partner and I are moving to New York. He graduated MassArt last year with a BFA in fashion design, and he's just been waiting for me to finish up school, so we can move. I'm very excited to move to New York because I've lived in Boston my whole life, and it's kind of hard to find jobs that have anything to do that I do right now in Boston. And I feel like I love New York. I used to hate New York, but I love New York now. Just because I was scared of the trains. But now I know how to take the train to New York, so I'm fine with it. But I'm excited to move to New York. That is the next thing, just to see where things go.
