After a CAP in hairdressing and an apprenticeship at a make-up school, Cécile Kretschmar created make-up, wigs, masks and prostheses for numerous theater and opera productions with directors such as Jacques Lassalle, Jorge Lavelli, Didier Bezace, Luc Bondy and Bruno Boeglin, Jean-François Sivadier, Jaques Vincey, Jean-Yves Ruf, Peter Stein, Macha Makeïeff, Ludovic Lagarde, Jean Bellorini, Marcial di Fonzo Bo and Élise Vigier, Pierre Maillet, Yasmina Reza, Wajdi Mouawad, Alain Françon, Phia Ménard, Pauline Sales, Emmanuel Daumas, Andrés Lima, the Marthe collective and Laure Werckmann.In 2024, she created the hair and make-up for Zazie dans le métro, directed by Zabou Breitman at the Maison de la Culture in Amiens. She worked with Macha Makeïeff on Dom Juan at the Théâtre National Populaire in Villeurbanne, designed and produced masks, wigs and make-up for the opera Olympiades directed by Emmanuel Daumas at the Théâtre des Champs-Élysées and took part in the creation of Sœurs Hilton directed by Christian Hecq and Valérie Lesort at the Théâtre des Célestins in Lyon.She continued her collaboration with Pauline Sales for Les Deux Déesses in Le Mans and with Andrés Lima for Shock 1936 in Madrid. She works with young companies, including the Marthe collective for the creation of Vaisseau Famille at the MC2 in Grenoble and the Lucie Warrant company for Croire aux fauves at the TJP Centre dramatique national in Strasbourg.For the cinema, Cécile Kretschmar designed and made the masks for Albert Dupontel's Au revoir là-haut and for Aurélie Reinhorn's short film Son altesse protocole, and participated in the make-up and hair design for Noémie Lvovsky's La Grande Magie. In 2024, she participated in Amos Gitaï's film Why War, which was shown at the Venice Biennale. Since 2017, she has collaborated with Wajdi Mouawad, most recently on Journée de noces chez les Cromagnons.At the Opéra national de Paris: Œdipe, 2021