For Navajo makeup artist Tierra Richards, the path to Hollywood didn’t begin on a film set; it started at home. “My aunt asked me to do her makeup for her wedding,” Richards says. “After that, I thought, maybe I could do this for a living.”
At the time, she was still figuring out her direction. Always creative, but unsure how to turn that into a career, that single moment opened the door to a new possibility, one that would eventually lead her into the world of film and television makeup.
Originally from Gallup, New Mexico, and a proud member of the Navajo Nation, Richards began her career without industry connections. Like many artists trying to break into film, she started with small opportunities—student films, low-budget productions, and long hours learning every skill she could. “Breaking in is the hardest part,” she explains. “I started not knowing anyone. I worked on student films and small projects, and just kept networking.”
Along the way, Richards expanded her skills by working at a facial hair shop, where she learned specialized techniques used in film production. She also gained valuable experience assisting a mentor who helped introduce her to professional sets. “From there, it kind of snowballed,” she says.
Those early steps eventually led to major productions, including Marvel’s blockbuster Avengers: Endgame. One moment from that film still stands out vividly in her memory. “We were filming the epic battle scene, and almost all of the superheroes were there in full costume, preparing for battle,” she says. “Seeing that in real life was pretty amazing.”
Richards would later work on projects such as HBO’s Winning Time and Hulu’s All’s Fair, experiences that allowed her to see the scale and complexity of major productions firsthand. On Winning Time, which recreated iconic moments in basketball history, she remembers standing just out of the camera’s view while preparing actors for scenes that felt almost like watching real games. “All of us artists were hiding in the tunnel, and we would run onto the court for touch-ups,” she says. “Hearing the crowd and seeing everyone in period-accurate costumes and makeup—it felt like you were really there.”
But while her work steadily built, a different kind of milestone would arrive—one she never expected. Richards recently received major industry recognition across multiple institutions, including:
- 1 Primetime Emmy nomination
- 2 Makeup Artists & Hair Stylists Guild (MUAHS) Award nominations
- 1 NAACP Image Award nomination
For Richards, these honors—not any single project—represent the true turning point in her career. “It was very surreal,” she says of the Emmy nomination. “I was with my family at the time, and it was a delightful surprise. I’m honored that our peers saw our work.”
Her Emmy-nominated work comes from the FX/Hulu series Grotesquerie, created by Ryan Murphy—a visually complex show that required both technical precision and creative range. “Grotesquerie was so unique because we got to take characters through very different looks,” she says. “One moment I’m working on special effects makeup for crime scenes, and the next I’m doing beauty looks. I loved that challenge.”
Still, she sees the project as part of her ongoing growth rather than a defining moment. Instead, it’s the recognition from her peers—the nominations themselves—that mark a shift. “It’s wild,” she says. “I didn’t even think about something like this happening.”
Her approach to makeup remains rooted in storytelling and collaboration. “It always starts with the script,” she explains. “Understanding who the character is and where they’re going. Then you work with the actors and directors—it becomes a team effort to bring that vision to life.”
Working under industry leaders like makeup department head Kate Biscoe has further shaped her process, emphasizing detail and intention in every look. “She has such an amazing eye for the characters,” Richards says. “It was an incredible experience bringing that vision to life together.”
Outside her current work, Richards is now part of another upcoming Ryan Murphy project, The Shards, a period piece expected to feature bold, 1980s-inspired makeup. While she can’t share many details yet, the project promises another opportunity to explore makeup as a form of storytelling.
As her career grows, so does her awareness of representation in the industry. Despite her success, Richards says she often finds herself as the only Indigenous person on set. “On most productions, I’m usually the only Indigenous person there,” she says. “But being there is proof that we exist in these spaces. We can take up space and work alongside some of the best in the business.”
Although she hasn’t yet had many opportunities to bring Indigenous cultural perspectives directly into film projects, she hopes that will change as more Native storytellers enter the industry. “I would love to see more Indigenous stories being told and more Indigenous creators producing them,” she says.
When the pace of Hollywood becomes overwhelming, Richards stays grounded by returning to what matters most—family and the outdoors. “My family keeps me grounded and reminds me what I’m doing this all for,” she says. “Whenever I have time off, I try to go home or get outside. Being outdoors helps me feel connected to where I’m from.”
Looking ahead, Richards hopes her journey shows young Indigenous creatives that careers in film are possible. “Go for it,” she says. “If it’s what you want, Creator will make a path for you. It’s hard work and long hours, but it’s possible.”
For Richards, every step forward is not just about her own career—it’s about building a road for others. “I hope it shows the next generation that they can be here too,” she says. “I’m just helping pave the way.”
