In June 2021, after 10 years of active participation in the heteronormative competitive DanceSport scene, I came out as non-binary. Having written my dissertation on the barriers that exclude gender non-conforming people in DanceSport, I was acutely aware of the thin ice I was on and agreed to pass as male for the competition season that followed. In parallel, I was exploring my newly found identity in other dance contexts: raving and (queer) clubbing. In this chapter, I discuss my make-up journey as an essential part of my coming out, and the contrasting experiences I have had through it the (queer) techno/rave scene and the strictly heteronormative Latin DanceSport Here I emphasise how my makeup journey highlights its potential as both an affirmative and subversive practice. Makeup is not gendered per se, but it is perceived as such and can therefore be used to disrupt the heteronormative gender binary, whether on a personal or political level. In order to answer this question, I draw on autoethnography to discuss both my experiences within and outside of DanceSport between March 2021 and March 2022. I show the potentials of make-up, its functions, roles and meanings within different scenes. The chapter is informed by the dispositive analysis I conducted for my dissertation. Extending the work of Foucault and Butler, it tells of transgressions and constitutive experiences in different scenes, of resistance and subversion, of exclusion and productive power, of internal conflicts and conflicts between micro and macro levels in the DanceSport scene.