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236 Fifth Ave
New York, New York


Professional Make-Up, Hair, & Style Production Company based in New York City, New York. Discover their portfolio and business ventures. On Location or at our studio. Contact with inquiries.


Follow us to events and shoots around New York City on the NeonFix blog!


Artist Spotlight: Lilly Jean. . . From Fashion to Makeup Artistry

Neon Fix

Neon Interviews NY based Makeup Artist Lilly Jean about her Personal Beauty Journey, from Adolescent to her current Beauty Bombshell status. She also spills about leaving her International fashion career behind for contours, highlights, airbrush & lashes.


J:    Lilly, How would you describe your Personal Beauty Evolution?

L:    My mom would cut my hair short & Like a lot of young girls, I started playing with nail polish . . .

Then as a teen I grew my hair super long and wore it curly.

 I became obsessed with a particular Revlon Nude flesh tone color lip stick & gloss. I used to by them in bulk 5/6 at a time. I would always stock up on my favorites.

I also started wearing black kohl liner, mascara & thin Dark brows filled in with pencil. Maintaining Healthy skin came next; exfoliating & maintaing a daily skin care regimen specific to my skin type.

J:    When Did you start to develop a an affinity to wearing color as opposed to nude? 

L:    My friend Daniella bought ruby woo when it came out and then forced me to try it. After that I was hooked. I Then started experimenting with oranges, deep burgundy's, & coral. "I Hate Pink ." "I like it on other people just not on me.


J:    When did you decide to enter the Beauty / fashion industry as a professional as opposed to a consumer?

L:    Well Neon first came fashion. When I lived In Johannesburg, I managed several Hi end Brands; La Perla, Diesel, Style Lab & Dsquared2 . Because of my entrepreneurial spirit I simultaneously started importing wholesale products from LA; denim, other various clothing, accessories, bags, & working on my own designs; clothing, jewelry, bags.

My designs have been featured in Elle Magazine , Cosmopolitan & FHM and sold in exclusive boutiques; Ruby in the dust & life .  I was extremely successful & ended up leaving retail management and moving to LA because me business was growing so fast. 

J:    When did you decide to enter the Beauty Industry?

L:    When I arrived in NY I became discouraged because the design industry was too saturated.  I was looking to change career and still do something that helped adorn the human body. Skin is a natural extension of beauty &I wanted to do something I loved . I enrolled in the  Lia Shorr Institute & received a license as an aesthetician and makeup artist. During the course I became more enamored with makeup artistry. Especially because I had  instructors who were into theatrical, editorial, & camouflage makeup. I took note of how huge the bridal industry is as well as how romantic, clean, & classic it is.  A friend raved about Neonfix/Prim & Per'fect and so I decided to do a Bridal Makeup Class with you and focus on creating waterproof, long wearing looks and booking brides .  As opposed to other places your class introduced me to airbrush as well as behind the scenes entrepreneurial insight into building a succesful Beauty Brand.

J:    How do the beauty Industry in other countries differ from NY

L:    Croatia & Johannesburg, South Africa Mac Cosmetics was available / but when I Moved to new york city where the cosmetic market was huge" I discovered Sephora and my life changed! " So it goes un said that in NYC I found a new appreciation for the Beauty Industry. I submersed my self in every facet from Hair extensions to highlights, Brazilian Hair Straightening, hair & skin care products,I developed a fetish for lashes, thinner & lighter fuller brows, Bronzers, Highlighting , contouring.

J:    What's your main focus when it comes to your personal style of Makeup artistry?

L:    I really focus on perfecting skin, highlighting & contouring. I think it's the most important. If your foundation is messed up or does not compliment your complexion it ruins your whole look.

J:    What are your short/long term career goals and what steps are you taking currently to propel you closer to achieving them?  

L:    I will be launching my website in a few weeks for my Brand, so I've been super busy shooting content for my portfolio. I love seeing my work come to life on camera. I'm also fine tuning my Airbrushing skills & consistently cultivating my Brands Online presence. In the future I plan on attending NYU's SPecial effects course & Launching my own makeup & skin care line. 

Cara Delevingne For Tom Ford’s ‘Black Orchid’ Fragrance

Neon Fix

We can’t get enough of Cara, and it looks like Tom Ford can’t either. The 22-year-old model went fully nude for his Black Orchid perfume campaign! Cara bares the naked truth while serving us a heavy dose of Sexy & her Signature brows!


A Makeover for Vogue’s Website

Neon Fix

For more than 120 years, Vogue magazine has tried to present a rarefied world, filled each month with striking people and high fashion spread across several hundred glossy pages.

And yet, like other magazines, it has wrestled with how to translate its print sensibility to the openness and speed of online journalism.

On Wednesday, Vogue is expected to unveil a new website, its latest attempt to reflect the magazine’s ethos online. Both the editor in chief, Anna Wintour, and the creative director for digital, Sally Singer, acknowledge thatVogue’s site has yet to fulfill its potential and hope that this revamping represents a deeper change in what it offers web and mobile readers.

Ms. Singer, who had worked at Vogue for more than a decade before a stint as editor of The New York Times’s T Magazine, returned in November 2012. She said she wanted to try to create a more interactive and broader publication that did not replicate the magazine, but extended it — “a new Vogue under the auspices of Vogue.”


The first version of Vogue’s website, introduced in 2010, “was much more a reflection of the magazine,” Ms. Wintour said. A small full-time staff of about seven, supplemented with freelancers and people on loan from the magazine, turned out a dozen or so articles a day that faithfully reflected the magazine, Ms. Singer said.

The new site has its own expanded staff now and its own space in the headquarters of its parent company, Condé Nast. It will cover news at a faster pace and will now mount its own fashion shoots. Familiar web fashion staples, like street style photographs, will continue to appear.

“The technology has obviously changed since Sally came on board,” Ms. Wintour said. “We can be much quicker, nimbler, make much more content available.”

It also has a redesigned look, with a cleanliness that has become the new convention for online design, created for easy navigation on a mobile device. Only one advertiser will appear on each page.

Vogue has redoubled its efforts in creating unique online content, which Ms. Singer sees as crucial to maintaining the magazine’s sensibility.

In May, the fashion photographer Mario Testino took over the magazine’sInstagram feed for the annual Met Gala, a benefit for the Costume Institute at the Metropolitan Museum of Art. In June, the hairstylist Christiaan gave free haircuts in Madison Square Park, and the resulting photographs and videos were presented online.

Ms. Singer also highlighted a tiny 3-D printed replica of the model Karlie Kloss, dressed in what appeared to be a tiny couture outfit. The model of the model, she said, would be taken around the world and photographed for the website.

The site draws about 3.3 million unique visitors a month, Vogue says. (New York Magazine’s fashion site, The Cut, gets about four million, it says.)

Ms. Wintour said the new site had “the authority and the vision of the print magazine.”



Neon Fix


The Music Video for "Yonce"  stars not only Bey & the flawless fashion visuals curated by stylist Ty Hunter, but also three of the fashion world’s top models—Jourdan Dunn, Joan Smalls, and Chanel Iman—in an homage of sorts to George Michael’s famous supermodel-filled “Freedom ’90″ video. Director, video artist, and co-head of creative at Supreme, Ricky Saiz, shot the video over two days in Brooklyn. “When I started to propose ideas and put together a visual narrative, Beyoncé responded really well,” he said. “She was open to me pushing a bit, and to trying new things, and I didn’t want it to be overproduced. I didn’t want a performance video, which is like jazz hands. This was more like an upskirt.”

“Upskirt” does set the racy tone. Saiz was inspired by Daido Moriyama’s erotic photographs as well as the iconic George Michael Video—and styled by Karen Langley, the cast dons an array of revealing outfits, including a black Anthony Vaccarello dress (for Dunn) and a bondage-inspired molded bodysuit from Tom Ford’s tenure at YSL (for Beyoncé).

SEE VIDEO & SAIZ INTERVIEW BELOW  Saiz talks to about the singer’s most smoldering video to date, what it was like working with the one of the world’s biggest stars and a trio of supermodels, and that time on set when Smalls decided to lick Beyoncé’s breast.

How did you come to work with Beyoncé on this in the first place?
It was very all of a sudden, actually. I have a working relationship with Todd Tourso, her creative director. We worked together on the 2011 Lady Gaga for Supreme campaign that we put together. He called me out of the blue and said they wanted me to do a video for them. Four days later, we did it. It was very fast, all of a sudden, and fun. I think Beyoncé is an incredible artist—she has ability, reach, and doesn’t compromise. She’s always kind of done her own thing. But the project that they approached me with was very much in my lane, and my aesthetic. If they had me do a big, drawn-out, cinematic production kind of video, I probably wouldn’t have done as good of a job.

What was the brief that Beyoncé and her team gave you? What were they asking for?
They came with a pretty broad concept. They had the models in line, and wanted something pretty simple. The brief was in the direction of George Michael’s “Freedom” video. And I kind of took it from there. I felt like doing something really simple, handheld, lo-fi. It felt like an interesting way of doing it. It could come off so bland if filmed the other way. And again, I wanted to explore her transgressive imagery. Things that were sexual and erotic, but not cliché. I didn’t want to see Beyoncé with her tongue out, you know?

How is this display of sexuality different from what Miley Cyrus does in “Wrecking Ball”? 
Beyoncé is so sexy without having to do anything. I felt like she didn’t need to be wet, or need to twerk. It was more about a mature sense of eroticism, like what Madonna expressed in “Human Nature” in the nineties. A lot of the inspiration came from still photography. Like Daido Moriyama’s really tight close-ups of fishnets—things that felt abstract but still resonate.

What was Beyoncé’s reaction to your creative process? Was she very hands-on? 
She’s incredible. She was very hands-on, and everything was a collaborative effort. I think once she saw my aesthetic and references in the styling and art direction, she had full trust in my ideas for the video. I’ve never worked with anyone that gave so much, and was so willing to try new things. For example, the styling; Karen Langley brought this Tom Ford [for YSL] molded-breast bodysuit with the pierced nipple, fishnets, and things like that. It was exactly the references that I was looking for, but in my head I was like, Yeah, right. We’re never getting Bey to put that on. And Beyoncé’s so incredible, she was like, “Let’s do it.” I don’t think anyone’s seen her like that. She was into it.

Do you have a sense of why Beyoncé tapped Jourdan, Joan, and Chanel for this project? 
They came to me with these three women in mind. It just felt very of-the-moment, very iconic. You know, they’re all supermodels, they stand on their own, they’re such powerful women. And when brought together, it created a whole dynamic. We definitely weren’t trying to put together a “girl group.” But the chemistry on set was amazing. People just came in really excited about the project, and I tried to keep things loose and fun. I wanted you to see something you maybe weren’t supposed to see.

The “Freedom” video worked because the girls were supermodelséthe first generation of so-called supers, in fact. Do you see these women as the new generation? 
Absolutely. I think that in addition to being extremely beautiful, they have their own characters, and their own personalities that they brought to the table. They were anything but casted models.

Did you have any favorite moments on set? 
When Joan Smalls licked Beyoncé’s boob. I’m probably not going to forget that anytime soon. To be honest, I didn’t even see it happen. I was in between monitors. I saw it in playback. My director of photography came up to me and was like, “Oh, my God, did you see that?” It was totally spontaneous. [Smalls] just went in. It was fun. We had a good time.