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If someone had told me that in 2026, New York’s first lady would be a Syrian woman, I wouldn’t have believed it. But Rama Duwaji, the wife of Zohran Mamdani, is not merely ‘the mayor’s plus-one’: she’s an artist with a distinctive sense of style (as well as her own strong political convictions). In January, she attended her husband’s inauguration donning a kohl smoky-eye and a fuck ass bob with curtain micro bangs, a look which Vogue claimed “[proved] the Gen Z first lady’s fashion bona fides”.

As Rama’s make-up artist for the event – as well as her election night look – Aya Tariq puts it, “she represents the modern Arab woman.” “When [Arab girls] do their make-up, they are doing it for themselves,” she laughs, recalling a sentiment that resonates with women across the MENA community. “When they’re dressing, they’re dressing for themselves, not for you. So I wanted [Rama] to feel like herself. Like, ‘this is me’, you know?” Raised in Saudi Arabia and immersed in a beauty culture steeped in autonomy and community, it’s clear to see where Tariq’s self-reclaiming beauty philosophy began.

Scroll through the make-up artist’s Instagram grid today, and you’ll feel the gaze of many piercing eyes staring back, each telling their own story. “[Arab women’s] idea of sexy is about the art of persuasion and temptation,” she says. “I always want to bring that sense of fantasy and escapism into my work.” In this way, conjuring the imagination is instinctively rooted in her practice.

Tariq’s creations often feature bold liners atop sculpted shadows, retro-coded cut creases in shades of blues, pinks and iridescent glitters, and ancient Wedjat designs that take a contemporary twist. Whether it’s calligraphy tattoos imprinted across foreheads or gem clusters that burst across the face like bejewelled fireworks, the looks she creates are full of the type of drama and fantasy that she yearns to see in runway shows and editorial spreads. “I want Arab designers to experiment more with the make-up on their models. We need to be pulling inspiration from our own histories and owning our stage. We’re the innovators.”  

Below, we sat down with the make-up artist to talk about everything from collaborating with New York’s first lady on her inaugural look, working backstage at the Schiaparelli Haute Couture show, and bringing back ‘cringe make-up’ in 2026.

What are your earliest beauty-related memories?

Aya Tariq: I grew up in Saudi Arabia and was exposed to Saudi, Egyptian and Moroccan culture. My grandmother, who was Egyptian, would take her lipstick and just wipe it on her lips, cheeks and eyes, and that was her make-up. My Moroccan grandmother would use a kohl pencil and run it along the inside of her eyes, wipe and smudge it. And that was her smoky eye. Even if you didn’t have make-up, you always had good perfume, you always had good vibes. 

How did you become a make-up artist?

Aya Tariq: When I moved to America, I always knew I wanted to live in New York City, but I didn’t know that being a make-up artist could be a real job. I was always inspired by fashion shows, so I took a course with Make-up by Mario, and after that, I took a second course with Makeup Forever when they had a school back then. They were like ‘Oh you can do TV, you can do tutorials’, and I was like, ‘Wait, you guys make money out of this!?’ 

How did the collaboration with Rama Duwaji come about?

Aya Tariq: I met her towards the end of last year, and that’s when I did her make-up for the first time. Then the inauguration happened, and I did her make-up for that. To me, she represents the modern Arab woman.

What was your vision for the look?

Aya Tariq: For me, the poetry is all in the eyes. And she has amazing eyes that really twinkle. Whenever I apply khol I feel like eyes become very dreamy, so that’s what I wanted the most attention on. It’s funny because when they cut to her on TV [during the inauguration], she looked like she had a few tears, and I was like, ‘Don’t cry girl, you’ll ruin your make-up!’

What has been your career highlight so far?

Aya Tariq: I would say working on Schiaparelli Haute Couture with Pat McGrath, where she did the black lip. It was my first time at a couture show, and I was like, ‘Oh my god, is this really happening?’. Also working with Valentina Li on shows like Robert Wun, I just want to say thank you so much to her for trusting in me! And then most recently, doing Rama’s make-up was like, ‘Oh, this is so cool.’ It felt like such a full-circle moment. 

What does beauty mean to you?

Aya Tariq: I feel like the prettiest people are confident in their own skin. I know it’s such a cheesy thing to say, but it’s true. I went to a beauty event, and this girl had this beautiful holographic eyeshadow look. I think when someone dares to do something like that, even if it’s not necessarily for me, I’m like, props to you for having the balls to do it. 

Who is your ultimate beauty icon?

Aya Tariq: Erin Parsons is my beauty crush. I’m really lucky to have worked with her. Also, that era of Kevyn Aucoin, early Galliano and iconic 90s supermodels like Cindy Crawford and Linda Evangelista. It’s why I love Elissa and Haifa Wehbe because I see that influence. I’m a very nostalgic person. I love to look back at old Britney and Janet Jackson music videos and the beauty in those. Britney has hooded eyes, which I love. It adds to the mystery.

What is the future of beauty?

Aya Tariq: I think there’s going to be a big pushback on AI and more people showing their raw beauty. It’s not going to be about being perfect. Can we please make cringe cool again? I want to see clumpy lashes and brush strokes here and there. I want to see different characters come to life.