"Be prepared to get messy": Niamh’s LCF hair, make-up and prosthetics journey
- Written byNatalie Ellis
- Published date 26 February 2026
Hi guys! My name is Niamh
I’m currently in my second year studying BA (Hons) Hair, Make-up and Prosthetics for Performance at London College of Fashion, UAL.
I chose this course because I’ve always been obsessed with transformation, not just making someone look ‘pretty’ but completely changing who they are by creating new characters.
I loved the idea of combining creativity with something hands-on and technical. Prosthetics and wig making felt like this mysterious, slightly intimidating world when I applied, and that’s exactly why I wanted to study it.
What makes the course so exciting is that it’s never just about one thing. One day you’re sculpting a nose from clay, the next you’re styling historical hair, and another you’re problem-solving why your mould hasn’t set properly. It’s intense, but in the best way, there’s never a dull day!
A typical week on BA (Hons) Hair, Make-up and Prosthetics for Performance
There isn’t really a ‘normal’ week, but that’s part of what I love. A typical week might start with a prosthetics workshop where we’re sculpting character pieces on life casts we’ve made of each other.
Lifecasting was one of the first big practical skills we learned, covering someone’s face safely in alginate and plaster bandage to create a perfect replica. It sounds scary at first, but it’s such a key foundation skill and helps you build a lot of trust with your classmates from a health and safety perspective.
We also have hair sessions, where we learn period styling and wig work, and make-up classes that focus on different time periods and conceptual design. We have covered things like ageing, injury simulation and body paint in the first year.
Alongside the practical side, we have contextual studies (Fashion Culture and History). These classes help us think about performance, identity and the body in a much deeper way. It’s not just about making something look realistic — it’s about asking why we’re transforming someone in the first place.
Niamh's work on the course
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Niamh Harrison
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Niamh Harrison
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Niamh Harrison
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Niamh Harrison
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Niamh Harrison
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Niamh Harrison
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Niamh Harrison
Practical skills and specialist making
During your second year is where everything starts to feel more advanced. We move from basic sculpting into more refined character development. So far, we’ve learned how to create moulds, cast in silicone, experiment with gelatine, and test different materials to see how they move on the skin.
Material testing has honestly been one of the biggest learning curves. Silicone behaves completely differently to latex, and understanding translucency, flexibility and durability is vital if you’re designing for stage versus film. It’s very trial and error — you pour, you wait, you demould… and sometimes it fails. But when it works, it’s the best feeling in the world – hard work pays off!
One technique I really struggled with at first was mould-making. Getting clean seam lines and avoiding air bubbles takes a lot of patience. There were definitely moments where I had to start again. But overcoming that and producing a clean cast prosthetic was one of my proudest moments so far. It made me realise how much I’d improved technically. Plus, our technical tutors are always here to help.
Facilities and tutors
One of the best parts about studying at London College of Fashion is the specialist facilities and tutors. The prosthetics workshops are fully equipped for sculpting and casting, with proper ventilation and industry-standard tools. It genuinely feels like a professional effects studio rather than a typical classroom.
We also have dedicated hair and make-up studios and access to photography studios to document our final looks. Studying at a fashion institution means you’re constantly surrounded by other creative students;stylists, designers, photographers, and more. The diversity of subjects studied here adds to the energy of the building and creates igreat networking opportunities, as we will all be working in the industry together eventually!
Collaboration and creative community
The course is incredibly collaborative. We life cast each other, assist on projects, test ideas together and give honest feedback. Everyone experiments differently, and seeing how my classmates approach the same brief pushes me to think more creatively and inspires me.
Prosthetics isn’t something you do in isolation in the real industry, it’s part of a wider performance team. Working collaboratively at university prepares you for that reality. It’s messy, experimental, and very hands-on.
What surprised me most
I think what surprised me most is how technical and scientific prosthetics actually are. Before starting, I thought it was mainly artistic. But you need to understand materials, chemistry, structure and durability. It’s creative, but it’s also about precision and resilience.
The course has completely changed how I think about performance. Prosthetics aren’t just ‘special effects’. They’re storytelling tools. A subtle change to a face can alter how an audience reads a character.
Advice for future applicants
If you’re thinking about applying but feel intimidated by not knowing much about wigs or prosthetics, I completely get it. I did too. You don’t need to arrive knowing everything. What matters most is the willingness to learn.
Be prepared to get messy. Be prepared for things to fail. But also be prepared to surprise yourself. This course pushes you creatively and technically, and by second year you realise how far you’ve come – I most certainly have.
If you’re interested in transformation, making, character design and pushing boundaries within performance, London College of Fashion is such a great place to explore — especially as it’s an environment that encourages conceptual thinking alongside technical skill.
- Learn more about BA (Hons) Hair, Make-up and Prosthetics for Performance
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