Wig-maker and creative Rosie Mace talks about working on SNL UK, her North East roots and the journey that led her into film and theatre…
As someone who considers myself a creative, I’m always drawn to people who have a creative talent. Musicians, writers, fashion designers, painters – you name it.
I found out about Rosie through a mutual friend, and looking over her profile, I knew she was someone who dreams big and doesn’t let anyone clip her wings. She grew up on the outskirts of Newcastle before moving to Northumberland with her family, and her love of storytelling began early.
A teenage trip to the Harry Potter studio tour planted the seed for her dream career in film, and nine years later, she made it happen, landing a job just minutes from the Warner Bros. studios.
While the North East will always be home, Rosie’s creativity and determination have carried her far – straight into the world of wig-making at one of the most anticipated shows in the country: SNL UK.
From your social media, it seems like you’re a very creative spirit with many hobbies. Could you tell me about them and which one is your favourite?
In terms of hobbies, there are definitely a lot of them. Honestly, the ones I have now are the survivors of the many others I started and never continued but you never really know what you enjoy until you give things a go.
Any hobby I did always had to have a purpose. For example, I paint jackets, but I would never paint on a canvas. The painting had to have a purpose, something wearable, or an object, or a model that looks real. It’s the same with sculpting, which is why I never did fine art. No disrespect at all, but my brain just didn’t work that way. Whatever I sculpted needed a purpose.
Another hobby of mine is wig making, although it’s quickly becoming my main career, so I don’t really count it as a hobby anymore. It’s more like a job I just happen to love.
Painting and sculpting will always be at the core of who I am though, and they share a lot of transferable skills. And I read a lot – I always have. My favourite genre is fiction, and my favourite author is Sarah J. Maas. Her stories often inspire the characters I paint on jackets. Her worlds and characters are just something else.
Did growing up in the North East influence your creative path in any way?
I’ll be honest, I have a lot to say when it comes to creative arts being underfunded everywhere. But that’s not directed at the North East specifically. It’s just a shame to go through the school system and not really know the career options that exist in creative industries.
There are so many creative jobs out there, film, theatre, design, that don’t just mean “being an artist” in the traditional sense. The narrative I felt I was fed growing up was that of the “starving artist”, but that isn’t always true.
That said, the North East has so much life. There’s so much colour and space to think. Living in the South is a privilege, but it’s easy to get caught up in the urgency of it all. The North East has this feeling of slowing down in a positive way.
The people are great, the teachers I had (some of them anyway!) were really encouraging, and the landscape is beautiful. I also grew up involved in a lot of music, like steel pans and even military marching bands.
More than anything, the North East gave me a childhood full of colour and creativity. I had a lot of support from my parents and family, which I’m incredibly grateful for. I grew up talking to neighbours, smiling at people in the street, surrounded by small businesses and people making a living from their craft. It’s fair to say, wouldn’t be who I am today without that.
How did your role as a Junior Wig Maker at SNL UK come about?
It’s a long story – one of people taking chances on me, five months of unemployment, not giving up, showing up whenever I could, and taking a lot of risks.
Thankfully, I was recommended for the job by Corinne Young, who is the WHAM manager at the ENO in London. She first spotted potential in me after I attended a theatre event and took part in a 20-minute hair-knotting workshop with the ENO wig technicians. I’d never done it before, but she saw something in me and invited me to spend a day in their wig room.
That was really the start of my wig-making journey. I kept showing up and working hard, and I still work with her now.
She later recommended me to Kevin Fortune, the designer and head of WHAM on SNL UK. They already knew each other through a previous production at the ENO. So in many ways, I ended up on the job before I fully knew what it was!
I feel incredibly lucky, but I also know how hard I worked to get there.
How has it been working in this role so far?
I’ve honestly learned so much already, even just during the preparation period.
We had four weeks to set everything up from scratch. In the US, SNL has been running for 50 years, but here we’re building something new with a young and incredibly talented cast. It’s hard not to compare ourselves, but we have to remember that this is our Season 1.
The pace is intense. We sometimes have only a few days to make over 40 wigs for a show because we don’t find out what the sketches will be until shortly before the broadcast.
It’s stressful, but it’s the kind of stress that makes you excited to come back the next day. I’m constantly around incredibly creative people doing amazing work. It’s definitely a “pinch me” moment.
Wig making is quite an unconventional job. How did you get your foot in the industry?
When I was around 14 or 15, I used to spend eight hours on a Saturday painting myself into different characters using latex and tissue. Looking back, my techniques were questionable, but it introduced me to the idea of special effects.
I eventually moved into sculpting and studied Model Design: Character Effects at the University of Hertfordshire.
After graduating, I worked as a trainee construction sculptor on a major HBO production, but the industry shut down due to the writers’ and actors’ strikes. I was unemployed for about five months, which was really difficult.
Eventually I got a barista job in a brunch café while continuing to reach out to people in the industry – emailing, networking, travelling across London for meetings, and posting on social media.
One anonymous Facebook post eventually led me to the theatre event where I met Corinne. From there, everything started to fall into place. Wig making wasn’t originally the plan, but looking back it feels like everything I’d done before prepared me for it.
For someone who knows nothing about wig making, what does the process involve?
Traditionally, wig making, especially in opera, is a really beautiful process. It starts with creating a foundation that fits exactly to a person’s head shape and measurements. Once that’s made, individual hairs are hand-tied into the foundation.
At the opera they usually use real human hair, though synthetic hair can be common too. Each requires different styling techniques.
At SNL UK, we often work much faster. Instead of building an entire wig from scratch, we sew wefts and hand-knot the hairline to make it look realistic.
There are so many factors to consider: density, colour, placement, length, direction and style.
What’s your favourite part of the process?
Definitely the hairline. A lot of wig makers love that part because it’s what really makes a wig look realistic. When you get it right, it’s beautiful.
How long does it take to make a wig?
Traditionally, it can take around seven to nine days to hand-knot a wig, depending on the size and speed.
At SNL UK, we sometimes have to produce wigs in under 12 hours, which is very unusual. Thankfully, those wigs can later go into stock for future episodes.
You’re also a film sculptor. Can you tell me more about that?
Sculpting will always be a huge part of me. I’d eventually love to work in prosthetics for film because it combines sculpting, painting and hair work.
My first film job actually came from my university degree show, where I was hired as a trainee construction sculptor. I’ve worked with that team again since, including on a 10-month job in 2025.
The work was large-scale set sculpting, lots of architectural pieces, and I spent most of the summer working outdoors. It was hard work, but so much fun.
What has been the proudest moment of your career so far?
Honestly, I don’t think there’s one single moment. I’m just proud of the journey.
Sometimes I step back and think about the fact that I grew up in a small village in the North East and somehow made it into London’s film and theatre industry. That still blows my mind.
Were there any local artists, teachers, or creative spaces in the North East that inspired you?
My art teachers definitely played a huge role. Mr Pym and Miss Shotton were both incredibly supportive.
Miss Shotton really trained my eye for drawing, while Mr Pym encouraged my individuality and creativity. They challenged me but also allowed me to be myself.
I was also very involved in music growing up, particularly steel pans, which was another creative outlet.
The North East also has an amazing small-business culture. The town my family lives near is full of independent shops and makers, and that sense of community really inspired me.
What opportunities or challenges do you think exist for young creatives starting out in the North East?
One of the biggest challenges is simply knowing what careers exist. A lot of young people aren’t exposed to the range of creative jobs that are out there.
There’s often a push towards traditional career paths, especially in school. I remember being encouraged to choose maths or science because my grades were good, but I knew I wanted to study English literature and art.
The job market is also difficult right now, and creative industries rely heavily on networking. That can be especially challenging for people living in rural areas or further away from big cities.
What can people expect from you next?
Honestly, I don’t even know yet but I know it will be something big, fun and probably a little bit crazy.
I actually have a Latin tattoo that translates to “I’ll either find a way or make one”, and that pretty much sums up my approach to life.
I’d love to work in prosthetics eventually, but right now I’m really happy doing what I’m doing. The industry keeps me busy, constantly learning and meeting new people.
How can people support you?
People can follow my Instagram, @rosiemmakes, where I try to share my work.
Social media is always a bit of a balancing act between being an artist, a professional portfolio and a content creator. Being a “content creator” doesn’t come naturally to me, but I know how useful it can be for connecting with people.
If anyone reaches out there, I always try to help where I can. I love chatting to people about their own journeys too, especially because I know the path I’ve chosen is a little unusual.