From digital artists to photographers, body sculptors and hair stylists to make-up and nail artists, in our Highlight series, we profile the creatives tearing up the rulebook of their respective industries.

“There may be a certain ‘ease’ to beauty. By beauty I mean, pretty and pink and excellent,” says nail artist Frédérique Olthuis on the role of beauty in her work. “It’s necessary for me to steer clear of the gorgeous. It’s too secure. Nothing happens. The ugly is interesting and may change into beautiful through the eyes of the beholder. However the ugly didn’t come naturally to me. I needed to unlearn to aim for perfect.”

You’d be hard-pressed to search out nails by Olthuis that aren’t impeccable, but in the event that they aren’t quite perfect, that just makes all of them the more interesting. The Dutch nail artist’s style runs the gamut, equally comfortable with the freaky and the fragile, from the super-sized talons to the slogan statements – think political messages like “Zwarte Piet is Racisme” or “Vote or Die”. Then there’s the intricate designs, the fragile charms, the neon swirls, the phosphorescent oil spill patterns and, my personal favourites, the 3D vagina nails complete with a tampon string. 

Growing up within the east of The Netherlands, Olthuis moved to Amsterdam to review on the Gerrit Rietveld art academy before falling into nail art by probability and discovering a passion for it. Since then, her work has been featured on the covers of magazines including Lizzo for LOVE, Numéro, and Vogue Czechoslovakia, and on the runways for upcoming designers like Bodil Ouedraogo, MAISON the FAUX and this 12 months’s Dazed 100-er Duran Lantink, in addition to assisting Jenny Longworth at Gucci.

We caught up with the nail artist to speak depression, inspirations and never taking all of it too seriously. 

Are you able to tell us a bit about yourself and where you grew up?

Frédérique Olthuis: I grew up in a small city within the east of The Netherlands. I moved out as soon as I finished highschool and have been living in Amsterdam for the past 15 years. I had a really strict and even a bit conservative upbringing. I needed to unlearn lots after I went to the art academy and when determining who I used to be outside of the structure of the family of six I grew up in. Although my parents don’t really get what it’s that I’m doing now, they fully support me. 

As a young adult, I struggled with depression. I used to be functioning but I had never been joyful. Until a number of summers ago after I had a sense of enlightenment. It lasted a few months. I used to be joyful, felt light as a feather and I loved everyone. It was magical. The moment passed, however it didn’t disappear. I still experience moments of happiness and I believe life is only one big prank and I’m definitely laughing.   

Growing up, what informed your understanding of beauty and identity and the way in which you presented yourself visually? 

Frédérique Olthuis: I remember there was a magazine in the home after I was about six years old. On the duvet was a tall skinny blonde white woman – come to consider it, could easily have been Claudia Schiffer – on the runway wearing a black and pink long dramatic silk dress. She was wearing a number of make-up and her boobs were pressed as much as her neck. My parents never bought any fashion magazines so this was the one fashion image I had at my disposal for a 12 months or so (I don’t remember ever opening the magazine). I at all times consider that cover after I hear the statistics about what number of images we see per day in today’s world. Blows my mind. For an entire 12 months, the established beauty image in my life was tall, blond, skinny and white. Would’ve loved to had seen some variety.

In a while, there have been music videos on TV that also formed my aesthetic. Prince. Madonna was a without end mood. Naomi in Michael Jackson’s “In The Closet” video still blows my mind. Within the 00s I desired to be just like the nasty girls in Destiny Child’s “Nasty Girl” video. Loved every little thing Aaliyah did, unfortunately, I never managed to drag that off. Skunk Anansie’s Skin was the best. Missy Elliott too. I remember after I was about 15 I went through a phase where Fred Durst was my fashion icon!

What is the first memory you could have of finding someone beautiful? 

Frédérique Olthuis: After I was 4 we moved to a latest neighbourhood. All of my siblings were attending school, but not me. I remember waiting every morning on the window for this lady to pass by. Every morning she did and he or she’d wave. She had silver shoulder-length hair and he or she at all times wore a number of blue eye make-up and possibly a lightweight pink shimmer lip. She was probably the most beautiful woman I had ever seen. I became friends together with her and I’d hand around in her backyard the entire time. I used to be at all times welcome. She was the sweetest. Her name is Marita.

Why are you a nail artist? What made you desire to change into one? 

Frédérique Olthuis: For my graduation project on the art academy, I built a small nail salon, serving as an exhibition space. After graduating I began doing my nails more often. And my friends’ nails. And in some type of a fluent move, I became a nail artist. After I did my first shoot I used to be sure that this was what I desired to do.

How did you truly get into it? Is it something you learnt or is it more instinctual?

Frédérique Olthuis: Most of my work could be very precise and time-consuming. After I began doing nails, I already had built up the patience and regular hand so I used to be capable of create the things I got here up with. I’ve been my very own hand model so again and again that I’m now ambidextrous. 

How would you describe your aesthetic? Would you say you could have a signature look or technique that folks come to you for?

Frédérique Olthuis: My work is just too diverse to say that I even have a signature look. Nevertheless, I believe a typical factor for quite some projects is that I don’t draw back from a conceptual look. There’s at all times the concept first, then the execution. The final result could be considered secondary. The effect of this method is that my work will not be too calculated. I really like that.

What should nails bring to a fashion editorial or catwalk show?

Frédérique Olthuis: That depends. It could possibly either be an extension of the style or a bit on itself. And sometimes it’s only a plain manicure. A brief, round red nail could be exactly what the style needs. Only overdo it while you do it well. I mean, I believe there must be more room for mistakes. So I assume I’d need to change that to: overdo it as often as they are going to allow you to.

Do you get loads of male clients? Have you ever noticed a change within the years you’ve been working?

Frédérique Olthuis: I don’t think there are more boys doing their nails now, than six years ago. Perhaps the acceptance from the general public has shifted.

I don’t think I’ve ever made a distinction between female and male on shows regarding the nail looks. Young fashion designers largely design unisex collections, without that being their unique selling point. The sweetness world, however, is a really binary-focused one. Lipstick is for ladies. Shaving foam is for men. Unless overpriced and packed in pink. I believe it’s as much as us as artists to make changes. It takes without end for the business world to choose up on that though. But eventually, I believe they are going to. 

What are the projects that you just’re most happy with?

Frédérique Olthuis: For the Duran Lantink show last September, I cut up my entire archive of nails I made for shoots and shows and glued the pieces back together creating an entire latest look. It perfectly fit Duran’s sustainable collection of cut-up designer wear and the final result was very yummy. 

Earlier this 12 months I did Fong Leng’s nails, the long-lasting designer now in her mid-80s and looking out like a movie star. She got here to the set with nail polish on which I left untouched and I added her own signature on each nail. The shoot was for Mirror Mirror Magazine, shot by Jasper Abels.

A 12 months ago, my life-size classic red long talons made it on the duvet of the very first Vogue Czechoslovakia. Very joyful with that one. Shot by Michal Pudelka.

What’s your dream person to work with?

Frédérique Olthuis: Erykah Badu, because she is so cool.

How do you’re thinking that our understanding of beauty has shifted with the evolution of technology?

Frédérique Olthuis: First, there was Photoshop. This made the already insane beauty standards even harder to achieve. Then got here the filters and we could only bear to have a look at ourselves through one in every of those filters. Now, we now have computer-made beauty models and today’s kids are far more aware. They grow up within the midst of technology and so they could make a much larger distinction between fake and real. 

What advice would you give to young artists hoping to get into the industry?

Frédérique Olthuis: At times, don’t take this shit too seriously. It’s just nails. Sometimes I freak out over a deadline or an underwhelming final result or that my nails didn’t make the duvet. It helps to have a crazy passion for what you do. But I taught myself to also snap out of it. It’s. Just. Nails. (Also: expect prepping nails across the clock and going straight to a shoot with no sleep.)

What’s the longer term of beauty?

Frédérique Olthuis: More extreme! ‘Natural’ will not be a beat Nivea face, but actually natural. Fat, wrinkles, saggy boobs, it’s all going to be a part of ‘beauty’. If it isn’t already. Also more plastic faces and bodies. The term ‘beauty standard’ will fade. 

Who would you wish to shine a highlight on next?

Frédérique Olthuis: Take a look at my hair girl Hester Beek.