Westmore family
A multigenerational Hollywood family whose work helped establish professional film makeup, hairstyling, prosthetics, and special makeup effects.
Last updated August 31, 2026
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Overview
The Westmore family is a multigenerational American family associated with Hollywood makeup and hairstyling. Its professional legacy began with English-born wigmaker and makeup artist George Henry Westmore, who established what is described as Hollywood's first dedicated film makeup department in 1917, at the Selig Polyscope Company. Rather than functioning as a conventional consumer brand or incorporated company, the Westmore name represents a family tradition of screen-makeup expertise carried through studios, salons, independent assignments, television productions, and special-effects work. George Westmore worked at Selig and Triangle and later freelanced for major studios and individual performers. His approach treated makeup and hair design as highly personal services tailored to each actor. Among the performers he served were Mary Pickford and the Talmadge sisters. His work included practical solutions as well as cosmetic design; for example, he created false ringlets that reduced the need for Pickford to curl her hair every day. George's influence extended through his six sons—Perc, Ern, Monte, Wally, Bud, and Frank—who became important makeup specialists at leading Hollywood studios during the silent-film and classical studio eras. By the mid-1920s, several of the brothers were heading or serving as chief makeup artists at major studios. Monte Westmore worked as Rudolph Valentino's personal makeup artist beginning in the early 1920s and later joined Selznick International. He was heavily involved in the demanding makeup work for Gone with the Wind, released in 1939, and died in 1940. Perc Westmore spent more than two decades with First National and Warner Bros., contributing to films that included The Hunchback of Notre Dame and The Private Lives of Elizabeth and Essex. Ern Westmore worked at RKO and 20th Century Fox, where he developed screen looks for stars of the 1930s. Wally Westmore led Paramount's makeup department and was associated with Fredric March's transformation in Dr. Jekyll and Mr. Hyde. Bud Westmore directed Universal's makeup department for approximately 23 years and became particularly associated with rubber prosthetics. Frank Westmore also worked at Paramount. The family's work encompassed beauty makeup, character transformation, hair design, prosthetic appliances, and horror effects. Perc's experimentation with greasepaint and eye color in the early 1920s exemplified the family's role in the transition from theatrical makeup toward techniques suited to increasingly demanding film photography. The brothers also established the House of Westmore Salon, which served both Hollywood performers and members of the public, extending the family name beyond studio production. Later generations continued the profession in film and television. Michael Westmore became especially recognized for his work across Star Trek productions and received nine Emmy Awards. Michael and Marvin Westmore also worked in special makeup effects on productions including Raging Bull, Blade Runner, and Mask. Other members of the extended family have worked in makeup, hair, effects, acting, television, and related production roles. McKenzie Westmore became known as an actress and television presenter, while the broader family network has included artists and production professionals such as Mark Westmore, Pamela Westmore, Kandace Westmore, and Kevin Westmore. The Westmore legacy is therefore best understood as a professional and cultural institution within Hollywood rather than as a single product line. Its importance lies in the continuity of practical screen-craft across five generations, the family's presence at major studios, and its contribution to the visual identities of stars, monsters, historical characters, and science-fiction figures.
History
The Westmore family's Hollywood history began with George Henry Westmore, an English wigmaker who moved into motion-picture makeup during the formative period of the American film industry. In 1917 he founded a dedicated makeup department at Selig Polyscope Company, an important institutional step in the professionalization of screen makeup. He also worked with Triangle and subsequently accepted freelance assignments, often preparing performers in their homes before they reported to the studio. His clients included Mary Pickford and the Talmadge sisters, and his work combined hair construction, cosmetic application, and individualized image-making. George passed the craft to his sons Perc, Ern, Monte, Wally, Bud, and Frank. During the 1920s the brothers occupied influential positions at major studios and helped develop techniques for both glamour and character transformation. Monte began working for Famous Players-Lasky and became Rudolph Valentino's sole makeup artist in 1921. After Valentino's death in 1926, Monte moved to Selznick International. His later work on Gone with the Wind involved unusually extensive makeup demands, and he died in 1940. Perc entered First National and Warner Bros. in 1923 and remained there for more than 27 years. His credits and innovations included work on the appearance of Charles Laughton in The Hunchback of Notre Dame and Bette Davis in The Private Lives of Elizabeth and Essex. His experiments combining Stein Pink greasepaint with eye shadow anticipated later developments in photographic makeup. Ern worked at RKO from 1929 to 1931 and later at 20th Century Fox, creating and maintaining the visual styles of leading performers. Wally became Paramount's makeup chief in 1926 and was associated with the grotesque transformation of Fredric March in Dr. Jekyll and Mr. Hyde. Frank also worked at Paramount. Bud led Universal's makeup department for roughly 23 years and developed particular expertise in rubber prosthetic work. The brothers' activities extended beyond studio departments. Together they established the House of Westmore Salon, which provided beauty services to screen performers and the general public. This salon helped turn the Westmore name into a recognizable Hollywood beauty institution while preserving the family's professional connection to working actors. Subsequent generations expanded the family's reach into television and advanced special makeup effects. Michael Westmore became closely identified with Star Trek productions and received nine Emmy Awards. Michael and Marvin Westmore were also involved in effects work for films such as Raging Bull, Blade Runner, and Mask. The extended family has included additional makeup artists, hairstylists, effects specialists, actors, presenters, and production professionals. The family is commonly described as having remained active in Hollywood makeup across five generations, although individual members pursued different roles and the family does not operate as a single publicly listed corporation.
- 1985
Westmore special-effects work on Mask
[1]Michael and Marvin Westmore are associated with special makeup-effects work on Mask.
- 1982
Westmore special-effects work on Blade Runner
[1]Michael and Marvin Westmore are associated with special makeup-effects work on Blade Runner.
- 1980
Later-generation work reaches Raging Bull
[1]Michael and Marvin Westmore are associated with special makeup-effects work on Raging Bull.
- 1939
Monte Westmore works on Gone with the Wind
[1]Monte Westmore undertook demanding makeup work for Gone with the Wind while working at Selznick International.
- 1931
Wally Westmore's Dr. Jekyll and Mr. Hyde work
[1]Wally Westmore was associated with Fredric March's gruesome transformation for Dr. Jekyll and Mr. Hyde.
- 1926
Several Westmore brothers hold senior studio roles
[1]By 1926, Monte, Perc, Ern, and Bud had become chief makeup artists or held equivalent senior roles at major studios.
- 1923
Perc Westmore joins First National and Warner Bros.
[1]Perc Westmore began a long studio career with First National and Warner Bros., contributing to major character and beauty-makeup assignments.
- 1921
Monte Westmore becomes Rudolph Valentino's makeup artist
[1]Monte Westmore began working as Rudolph Valentino's sole makeup artist after an earlier position at Famous Players-Lasky.
- 1917
George Westmore establishes an early studio makeup department
[1]George Henry Westmore founded a dedicated film makeup department at Selig Polyscope Company, an event associated with the professional emergence of Hollywood studio makeup departments.
Products and positioning
A heritage Hollywood makeup and special-effects family recognized for pioneering studio makeup departments, personalized performer services, prosthetic work, and multigenerational screen-craft.
Film and television makeup · 1917
Studio film makeup
The family's foundational service was makeup designed for studio filmmaking, including performer preparation, beauty work, continuity, and the adaptation of cosmetics to the demands of film photography. George Westmore's early department work and the careers of his sons helped establish makeup as a specialized production function rather than an incidental theatrical task.
Special makeup effects
Character and prosthetic makeup
Westmore family members worked on physical transformations ranging from historical and dramatic character makeup to grotesque and horror effects. Bud Westmore was particularly noted for rubber prosthetics, while later generations continued the family's involvement in advanced character effects for film and television.
Hair and beauty services
Hair, wigs, and beauty styling
Hair construction and personal styling were central to the family's origins. George Westmore trained as a wigmaker and designed individualized hair solutions for performers, including false ringlets for Mary Pickford. The family's salon work extended these capabilities to celebrities and the general public.
Salon services
House of Westmore Salon
The House of Westmore Salon connected the family's studio expertise with a public-facing beauty business. It served Hollywood performers as well as members of the public and helped make the Westmore name recognizable beyond individual film credits.
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