Celebrating the 9th Anniversary of ‘ARTPOP’ with Lady Gaga’s Make-up Artist

Tara Savelo revisits some of the era’s most-iconic looks she created for Mother Monster.

Nine years ago, Lady Gaga released her most conceptually ambitious—and most critically divisive—album yet. ARTPOP, the third studio album from the pop superstar, was met with polarizing reactions; there was no in-between, no indifference to it. You either loved it or hated it, which, some may argue, is the hallmark of something ahead of its time. However you feel about it, you can’t dispute the fact that this experimental oeuvre boasting several hits considered by many Little Monsters to be underrated classics—“Aura,” “Venus,” and “Sexxx Dreams” are some that come to mind—remains in the pop cultural zeitgeist to this day. Pitchfork recently revisited ARTPOP and gave it a positive review, when they felt—let’s say—"the opposite” nine years ago. #ARTPOP constantly trends on Twitter. And the looks from this era live on—from candid paparazzi shots circulating social media to young make-up artists replicating them on YouTube, TikTok, and beyond.

The hair and make-up from this era are just about as memorable as the album. Incorporating her background as a painter, make-up artist Tara Savelo, already known for creating looks that are recognizably “Gaga” to this day, transformed the “Applause” singer into iconic living works of art. From a project in collaboration with artist Robert Wilson that was featured in the Louvre, to painting Gaga into a Picasso, which was recently referenced in her “Life in Looks” for Vogue, and a number of red carpet, stage, music video, and street looks that utilized make-up beyond traditional application, Tara was able to solidify herself as one of the most avant-garde and innovative make-up artists whose loyal global fanbase continues to grow to this day.

Of course, some of you undoubtedly already know Tara. Whether you’re a fan or a subscriber to this newsletter—you can read the guest essay she penned here—you are most definitely familiar with her myriad talents. To celebrate the ninth anniversary of ARTPOP, I thought I would interview my bestie (and creative partner-in-crime) about her boundary-pushing work that cast a permanent spotlight on a worldwide pop phenomenon, and inspiring countless fans around the world every day.

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Greg Mania: Can you believe it’s been nine whole years since ARTPOP?? How???????

Tara Savelo: Nine years? That makes me feel ancient! In many ways, it’s been longer than a decade since the evolution of ARTPOP began. During the Born This Way tour and promo cycle, Gaga was already writing and conceptualizing ARTPOP. She is always thinking ahead. We were listening to those tracks on repeat (without vocals). We were imagining visual concepts for the songs, the album, creating an entire universe, and the characters who would occupy this universe.

Greg Mania: What were some of the concepts you came up with as a make-up artist during this time, and how did they evolve alongside the creation of ARTPOP?

Tara Savelo: Most of the songs on ARTPOP we lived with, in some form, from conception during the Born This Way Ball to birth in the studio. She would play a track she liked while we did glam, dancing around hotel rooms, driving in the car, and pieces of the song would begin to form as she wrote it. We would then listen to these demos. Sometimes I’ll hear the recorded versions of her songs and not recognize it until the verse because the demo and live versions are engraved in me. This gave me the unique opportunity to have months to simmer in each song. I sat in every recording session, knew every beat and lyric. I would bring a TY stuffed mini, the ones with the big eyes, into the studio every few days, always on theme with whatever song she was recording. There was a Walgreens by the recording studio, so I would stop there on my way in and buy a bunch of cute things to spice up the place. If it was “Mary Jane Holland,” it would be weed-themed. On “Venus” day, it was octopus, seaweed, seashells, and starfish. Sonja [Durham] ended up getting an underwater light projector, tiki torches, and other mermaid ambiance. I started doodling and drawing again, loosely creating concepts for whatever the song of the day was. It’s such a tactile album—it’s so colorful and vibrant—it would be hard to make it boring.

Backstage at the MTV VMAs in 2013.

Greg Mania: I love that. Tell me about how your skills as a painter influenced your make-up for this era.

Tara Savelo: I had just found this new confidence in myself as an “artist.” I was feeling braver than ever and more at ease with myself as a creative. I think this allowed me to experiment more and push myself to try things I would have been too scared to do. It was the perfect time for the “Applause” promo looks that were painterly and unpolished. It was out of my comfort zone and still some of my favorite looks.

Greg Mania: I know this is going to be tough to answer, but I have to ask anyway: what are some of your favorite looks that you’ve done during this era?

Tara Savelo:

Elle shoot with Ruth Hogben and these anime eyes in Japan:

ARTPOP promo in the U.K. and this look for the Glamour Women of the Year:

"Applause" promo and the 2014 Academy Awards:

And this look for a series of portraits done by Robert Wilson that were featured in the Louvre in Paris and this glamorous androgynous look from an ARTPOP fan listening party in Berlin:

Greg Mania: These are all so iconic. My favorite thing about some of these—especially the spooky Berlin looks—are that they weren’t universally beloved like they were among the fans—like a lot of the press actually hated them, which I think is so punk. Yet at the same time, they’re so beautiful, because the way Gaga carries herself in them is almost ethereal.

Tara Savelo: My favorite looks I’ve created are the ones that push the boundaries of what people think is “beautiful.” For example: the Berlin listening party look. We wanted an androgynous, ethereal look. I made her skin so dewy she looked freshly licked, almost sweaty—like she had been dancing and fucking all night. I bleached her brows and covered her skin in a glitter/shimmer mixture that I created, mixed with baby oil. She wore oversized iris contacts that the white mascara accentuated, the moustache and hair for an androgynous look.

We always wanted to create something different, never ordinary. Taking something considered odd by traditional standards and making it beautiful forces people to reassess what beauty really is.

Getting Gaga ready for the ARTPOP Ball.

Creating anime eyes during promo in Japan.

Greg Mania: YES! Has ARTPOP continued to inspire your craft(s) today? If so, how?

Tara Savelo: Absolutely! During ARTPOP I discovered and fell in love with painting as a form of creative expression. I learned to be freer with makeup and color. I thought more outside of the box—and that stayed with me. Being able to collaborate with some of the biggest artists—like Jeff Koons and Robert Wilson—and see their studios and artistic processes, was a dream come true and inspired me to think and create even bigger. During ARTPOP, I truly found myself as a full artist, not just a make-up artist; I realized I was much more. My ARTPOP could mean anything.

First portrait painted during ARTPOP.

Paintings in the studio.

Greg Mania: How does it feel to see the love for ARTPOP remain just as strong as it did nine years ago? It trends literally every other day on Twitter. And I don’t think it’s wrong to say that it has basically ushered in the type of sound we still hear in pop music today.

Tara Savelo: Justice for ARTPOP! But seriously, ARTPOP was this precious collection of perfect gems we had the privilege to enjoy privately for some time. Once it was released into the world, I assumed everyone else would instantly have the same visceral reaction. Unfortunately, it took some people a bit longer to catch on, but that's okay. I think, historically, if you're ahead of your time, you are often misunderstood or unappreciated in the moment. Gaga is always ahead of her time, and now publications are reprinting good reviews of the same album they trashed nine years ago. To actually answer your question: it feels amazing.

In the studio after The Muppets special.

Greg Mania: Hell yeah! What are some of your favorite behind-the-scenes memories?

Tara Savelo: There are so many amazing moments, but here are a few that come to mind:

The amount of interaction with the fans. There was a group who was always waiting outside the recording studio. Like clockwork, they waited and hung out in the parking lot, hoping for a few minutes with Gaga, to hear a few notes of what she was working on. She always stopped and talked to them, even knowing their names. One night after working late on the album, they were still out there. She called out to them and invited them inside. She was inviting them to hear the album before it was even finished. The energy in the room was insane. Watching these kids react to this music we had been listening to non-stop was electric. One of them got so carried away by the music, soaring through the air with the beat, that they knocked over a large vase full of flowers—and unfortunately also full of water—directly onto the sound board. The party was over for the evening, but not before Gaga gave them the track list and let them write it in the parking lot with colored chalk, took a photo, and posted it.

Another memory that comes to mind was when we were in Gaga’s hotel suite in Copenhagen and had the day off. There was studio equipment set up in her room throughout the Born This Way Ball for her to record ARTPOP. We woke up with no plans but to hang out and make music. Somehow the idea of recording a trap song was posed, and we were suddenly all bursting with excitement. Gaga, DJ White Shadow, and I got on LittleMonsters.com and Twitter and pretended to be hosting a fan contest for best song. We posted a track and asked for submissions while they wrote out lyrics. We then sat around the hotel dining table while Gaga recorded her verses. It was a frantic rush for them to get the song mixed and ready before we “chose the winner.” Releasing “Cake Like Lady Gaga” into the world and watching everyone react, wondering if they would figure it out, was exhilarating.

The entire album cycle had this same kinetic energy. Whether I was hand-painting on Gaga’s jacket as she walked out the door, or smearing cake makeup and glitter all over her extremities, everything was a performance piece. Everything was fun and I think the record reflected that.

At the MTV VMAs after party in 2013.

Greg Mania: You were also a muse for some moments on the record (and off, too). Can you tell me how you inspired some of those moments?

Tara Savelo: There is a story behind “Jewels N’ Drugs" that has recently surfaced. We were on the bus during the U.K./Europe leg of the Born This Way Ball after a show, traveling to the next city. It was late at night and Gaga, DJ White Shadow, and I were sitting downstairs at the table we used as the kitchen table/office. Gaga had taken off her jewelry for the evening and placed it in the inset cup holders on the table. I had a vape pen in another cupholder. I held out my palm mid-conversation and Gaga absentmindedly placed a bejeweled necklace in it and kept talking to which I said, “I don’t want your jewels, I want your drugs!” We all laughed and Gaga sang it back as a melody: “Don’t want your jewels, I want your drugs! Don’t want your money, want your love!” “Jewels N’ Drugs” was born right after.

Greg Mania: You have a fierce global fan base, who adore you and continue to replicate your looks to this day. What do you want to say to them?

Tara Savelo: I have had the privilege of seeing so many people find their gifts and blossom into creative geniuses. So much of this fanbase have become incredible artists whom I look up to; I’m honored to be a part of their creative journey. Keep dreaming big and creating!

Selfie with a Lady.

And don't forget to subscribe to Tara's YouTube channel:

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Credits

Cover art by: James Jeffers

Photo credits: Lady Gaga, Ruth Hogben, and Tara Savelo

Editorial assistant: Jesse Adele

You can follow my other unhinged missives by following me on Twitter, Instagram, and Facebook. My debut memoir, Born to Be Public, is out now.