I’ve known Jade since high school, though “known” might be generous at the time. We had one class together, drama, but didn’t speak much. She was the strong, quiet type. The kind of person you notice without ever quite approaching.
From a distance, she felt like a bit of a myth.
She’d post these meticulous, slightly disturbing makeup effects online. Alongside that, there were drawings that felt like a collision between The Addams Family and Labyrinth, and another account exploring abandoned buildings. I remember her having this smirk. The kind of smile that reads as, “I hate this, but oh well.” It used to make me laugh. It still does. It all added up to a very specific presence. The scary, cool girl who didn’t say much. How very wrong I was.
Crossing paths again after high school felt like a coincidence that worked out unusually well. We’re now close friends, which still feels slightly improbable if you rewind far enough.
Now working professionally as Jade Sophia, she’s carved out a space in makeup that sits somewhere between beauty and body horror. Not as separate ideas, but as something fused.
She graduated in 2022 with a diploma in Screen and Media, specialising in makeup services from the Australian Academy of Cinemagraphic Makeup.
“I learnt industry standards and techniques that I use on every single job, and I actually ended up assisting on a Hollywood movie set (Godzilla vs Kong) in the middle of my studies. I learnt more than practical makeup skills. I learnt how to become my own brand and the importance of being passionate about my work.”
That sense of ownership is obvious on set. Jade is incredibly funny, but also focused and precise. She balances all three without drawing attention to it.
She doesn’t just apply makeup. She builds it.
“I love all makeup, but my passion is in prosthetics, sculpting and painting. I started as a visual artist and now I sculpt and paint all of my own prosthetics.”
That trajectory makes sense when you hear where it started.
“When I was in grade 6, my neighbours invited us over on Halloween because their niece was visiting. She was a makeup artist for the Chucky movies. She did my makeup that night, and it was decided. That’s what I wanted to do. From then on I would prank my parents with fake grazed knees and staples through my hand. I’ve always loved the art behind making something appear so shocking you can’t look away.”
That instinct hasn’t softened. It’s just become more controlled.
“There have been many inspirations throughout my career, but the one that comes to mind first is Doctor Who. They’ve had so many incredible practical makeup looks over time.”
Even her favourite film points in a similar direction.
“My favourite movie is probably Coraline. Not because of the makeup, obviously, but I’ve always been fascinated with practical filmmaking techniques and sculpting and painting, which directly translates in my mind to prosthetic building.”
We first worked together on Afterparty, and it set the tone immediately. Jade created a large facial wound on actor Katie Collins using an upcycled leg prosthetic. I didn’t really have the language for what I was asking for, but she worked through it patiently until it landed.
When I got to see Katie for the first time, there was a pause. Then a grin… “that’s disgusting,” which, in this context, was exactly the reaction we were after.
That’s been consistent.
On both Afterparty and Spring Child, her makeup reveals have pulled audible reactions at screenings. Gasps. Groans. People leaning forward, then immediately back.
Her most recent look saw a flower grow out of actor Zoe Beirne’s bloody eye socket (gulp).
If you want your audience to physically react, give Jade something to build.
She works quickly, but not carelessly. There’s a precision to it that makes even rushed work feel considered. She brings a level of professionalism that raises the standard of whatever set she’s on, regardless of scale.
She also reads scripts properly. Breaks them down. Thinks about story, continuity, cost. It’s not just about what looks good, but what makes sense.
Her process reflects that.
“When designing a character on short notice, I like to imagine their environment and how they would look in regards to it. Once I have that, I sketch out a few ideas and see what sticks. A director will usually have a vision, but if not, I love presenting multiple options.”
Actors respond to that immediately. She builds trust quickly. Often becomes their go-to person.
And if you give her the time and resources, she’s not thinking small.
“I can’t wait to do full body prosthetics and make something that isn’t human. I’d love to work with someone in animatronics and combine that with prosthetics to make something really interesting.”
Looking ahead, she’s aiming for scale without losing the hands-on nature of the work.
“In ten years I hope to be a Head of Department or key makeup artist on film sets. But I also love being the one who designs, creates, and applies, so I’ll always keep working on things where I can do all three.”
Right now, she’s developing looks for This Is Not a Drill, moving into soft sci-fi territory. Specifically, the five stages of grief (in makeup) of a synthetic human robot. A different palette, same attention to detail.
What I value most about working with Jade is simple. She’s reliable. She’s supportive. And she makes things better than you imagined them.
There’s no ego around it. No hesitation. Just a quiet confidence and a willingness to get it done properly.
We’re holding onto her while we can.
Because it won’t be long before bigger productions start doing the same.
@jadesophiafx or jadesophiafx.com
