For the overseas television series The Panthers, creators TVNZ wanted a head of department with Polynesian descent who could help them craft certain styles and looks, and New Zealand-based make-up artist Kelly Mitchell certainly embodies this in more ways than one.

The 45-year-old is a refreshing addition to the world of television and movies. She is covered in tattoos, rocks an authentic laid-back Polynesian style, and has an impressive array of other work under her belt too. In the process, she is also trying to break barriers, providing much-needed representation for Pacific people in an industry that can overlook and exclude talent.

Currently based in New Zealand, Mitchell, who describes herself as a little Maori girl from Golden Bay with Cook Island connections, is not new to the world of showbiz. She has worked as a make-up designer for more than 23 years, on over 80 productions, with some of the best filmmakers, actors and actresses in New Zealand and international film.

One of her last big jobs was working as a make-up artist for Jane Campion’s Power of the Dog – which is leading this year’s Oscar board with 12 nominations – and since then, she has worked on multiple projects like TVNZ’s The Panthers and Pacific series Kairākau.

Speaking candidly about her career over a quick coffee, she says her time working with Jane Campion on the Power of the Dog was completely surreal, adding that she got to work with two people she has always admired, but never thought she would work with.

“I was tracked down when I was working on a TV series called One Lane Bridge by Noriko Watanabe, a make-up designer who is Oscar award-winning and has done The Piano. She has worked with Jane Campion before.

“The other person I got to work with was Jane Campion herself. Just to watch her and knowing where I want to head in the future … to be involved, it was just the most incredible experience.”

Prior to her time as a make-up artist on movies and television shows, Mitchell was predominantly known for her work in commercials and as a photographer and hairdresser. She gained recognition because of it.

In the past, she has used these to help catapult Pacific and indigenous issues such as the lack of Polynesian people working as heads of department. She remains a strong advocate for key issues such as this.

“I think it’s really important that we are seen and heard, and get out there,” says Mitchell. “It’s just so important, and it doesn’t happen often enough.”

“Quite often I’m on a team, and I’m the only Maori or Pacific island person, especially in an international job that has that kind of content. So I’m really wanting to change and push that.”

Mitchell is also bringing her knowledge and wisdom to her make-up artistry and other work. With each job she takes, she hopes to educate people about her culture while sharing her personal experiences.

She reveals that when it comes to working on Pasifika content that is on a larger scale, that it would be good to have more films and television shows seen through an indigenous lens.

“People forget that we have this history and have gone through so much,” says Mitchell. “They also forget that we are out there.

“As someone who is Maori, I will come from that lens, there is such a movement now that we can become a part of that without that colonial construct of how things should be made, because it’s still like that in film today.

“But I will say that we are starting to see more Indigenous people, Pacific and Moana being uplifted and included, and that is something amazing to be part of.”

One way she is bringing her Pacific culture to the film and television space is through her love of special effects and traditional make-up. During a recent production of the television series Kairākau, she created some of her specialised Ta Moko – which is a traditional Maori tattoo.

She shares that it was such an important part of the show which was set in the 1980s, because it was created entirely in Te Reo Maori and required heavy indigenous style and artistry.

“For many years parts of our culture have been skewed or appropriated,” says Mitchell, who adds that she always loves bringing her culture to the forefront of the film and television world.

“There is so much meaning behind a tattoo and even a Ta Moko than some people think.

“As someone who is Pacific and Moana, I consider myself lucky to have grown up around that.”

Mitchell also embraces her individuality in make-up design through her own personal tattoos shared across her body, which are a striking part of her look and ensemble.

“They represent who I am, and where I come from … what I have been through,” says Mitchell.

“I have been learning and educating myself about tattoos ever since I was young, and as you can see I’m proud to carry that part of my culture, my ancestry and history on my body.”

Like all of her work and impactful choices, she sees her own personal tattoos as an opportunity to educate others about a lesser-known aspect of her culture. This is especially powerful in a space like showbiz, where people once had a more regimental and unwavering look.

“The world is slowly recognising that Moana and Pasifika people are strong and capable,” she says. “But more of us need to realise that, as there are so many of us out there.

“We hold values and ideas that can be solutions to a lot of today’s problems.”

Though she loves doing make-up and beauty in general, along with special effects and tattoo art, she says she would like to do more, referring to her writing, and use it for something bigger.

“I am a storyteller,” Mitchell says. “I use what I have, which is often a blank canvas to help create and tell stories.

“Having been in this industry a long time I am confident about who I am (now), and where I’m headed.”