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September 2 2014

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54 posts tagged "Charlotte Tilbury"

DIY Anna Paquin’s Ode to Sookie Stackhouse

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anna-paquinThey say all good things come to an end, but that doesn’t mean they can’t be beautiful. “For the final premiere of True Blood, Anna [Paquin] and I wanted to do something really dramatic and sultry in Sookie Stackhouse’s honor!” said makeup artist Amy Nadine. The pro started with the eyes, sweeping Charlotte Tilbury Color Chameleon Shadow Pencil in Amethyst Aphrodisiac (a shimmery eggplant) over the starlet’s lids and winging it out. For even more dimension, Nadine layered the Charlotte Tilbury Luxury Palette in The Vintage Vamp over top, and lined the upper lashes with a band of black liquid and the inner rims with a kohl pencil. Using Make Up For Ever HD foundation in 127 and a BeautyBlender sponge, she perfected the skin before contouring cheeks with the Hourglass Bronzer Duo in Sunset—popping a hint of peachy blush onto the apples. To finish, she coated the lashes with Eyeko Skinny Brush Mascara, added Winks by Georgie Strip Lashes in No. 7 for fullness, and swiped Charlotte Tilbury K.I.S.S.I.N.G. Lip Color in Penelope Pink across Paquin’s pout for a freshly bitten feel.

Photo: Getty Images

Suki Waterhouse and Jessica Biel Go to Eyeliner Extremes

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eyeliner-collage-suki

From London to Los Angeles, it was all about liner last night. Across the pond for Kate Moss’ Topshop launch, model Suki Waterhouse relied on makeup pro Charlotte Tilbury and her crew (as did Moss, Cara Delevingne, and Sienna Miller) to amp up her look from an earlier photo shoot. “We had to do a quick off-on turnaround to do the right base for the red carpet,” said Tilbury. The face painter’s eponymous Rock ‘N’ Kohl in Bedroom Black was applied in a feline shape, then smoked out underneath with shadow. On the other end of the eyeliner spectrum in sunny California, Jessica Biel opted for a subtle, sophisticated gray etched along her top lashes only. Whether you want to channel that cool Cali girl vibe, or become a badass Brit, it’s apparently as easy as picking up a pencil.

Photos: Courtesy of Topshop; Courtesy of BFAnyc.com

Kate Moss’ Makeup Artist Kisses and Tells

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In honor of Kate Moss’ triumphant return to Topshop as a designer (her collection makes its debut on April 30 at the British retailer, Nordstrom, and Net-a-Porter), Nowness teamed up with the super’s network to create a series of eight short films. In the first installment, makeup pro Charlotte Tilbury waxes poetic about the power of Moss’ lips. The face painter even has a lipstick shade in her namesake line (arriving stateside in September) dedicated to her longtime client: Nude Kate. (Not to mention the model has a range of her own tubes as the face of Rimmel London.) So close is Kate to Tilbury, that the beauty guru granted Moss (along with Penélope Cruz and Liberty Ross) one of the few coveted samples of her venerated Magic Cream before it was officially put in a jar and sold to the general public. “If I really loved you, you got a pot,” Tilbury told me recently. Here, she reveals what makes Moss a revolutionary (as pointed out during a meeting with Fidel Castro) and her ability to make even “a towel in a spa” look cool.

Calling on Carine, Backstage at Tom Ford

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tom-fordThe goings-on at Tom Ford are usually shrouded in mystery. You’re more likely to get the lowdown on the inner workings of Area 51 than you are trying to sneak a peek behind one of the fashion world’s most exclusive shows. Until now, that is.

Let’s start off by saying that the makeup stations were the stuff beauty dreams are made of (think: vanities overflowing with Tom Ford-branded brushes and compacts). Face painter Charlotte Tilbury created a smoky eye that paid homage to Carine Roitfeld on a stellar cast that included Georgia May Jagger, Karen Elson, Liberty Ross, and Joan Smalls. She worked the designer’s Eye Defining Pencil around the upper and lower lash lines, then proceeded to blend it out with Noir Absolute for Eyes (a cream formula). “This isn’t a feline flick; it needs to look slept in—Tom and I had a long discussion about the right amount of smudge,” Tilbury explained. “It had to be on the right side of rock chick and adapted to each girl’s eye shape.” A touch of mascara at the roots and a brush through the brows finished off the top half of the face. Perfected skin played backdrop to these sultry eyes, with just a hint of highlighter from the Shade & Illuminate palette tapped onto cheekbones.

A spritz of volumizer was applied to roots before hair was blow-dried by Orlando Pita, then parted just off center. Where strands were all one length, the pro cut in soft layers—forgoing a traditional coating of hair spray. “I’m not using any finishing products…it should look really natural and not too precise; all I’ll do before the girls walk out is tuck some of their hair into the clothing,” Pita explained. We imagine the French fashion doyenne would skip the shellac and do the same.

Photo: Indigital

All Lacquered Up, Backstage at Donna Karan

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donna-karan-crop“It feels a little bit punky, yet at the same time it’s got a futuristic element,” said Charlotte Tilbury of the makeup at Donna Karan’s 30th anniversary show. She began by running MAC’s Eye Kohl in Phone Number (a pewter shade) along the upper and lower waterlines, then smudging it onto the top and bottom lashes. A gunmetal cream shadow was tapped onto the lid, and to “pick up under the lights,” a platinum pigment was blended with Mixing Medium, dabbed around the tear duct, and buffed up toward the crease. For extra sheen, Tilbury glazed over the eyes and tops of the cheekbones with a clear gloss.

The hats created by milliner Stephen Jones inspired the sleek wrapped wet sets. “They’re like the fifties biker caps that Marlon Brando wore in The Wild One…or like Charlotte Rampling in The Night Porter,” backstage pro Eugene Souleiman explained. Mimicking the shiny sides and “dusty matte” tops of the headwear, Souleiman sectioned off the hair at the crown, made a side part behind the ear, and began shellacking strands around the base using a tint brush (normally employed to paint on hair color) and gel (lots of it). The mane master continued up and around past the forehead—completing the circle. To lock in the shape, he took a blow dryer to it for 15 minutes. The dry section previously cordoned off was finally swirled and pinned in place, making it look as if the hair was “melting.” “The girls are loving us,” Souleiman said condescendingly of the rock-hard style. Good thing it was the end of the evening, as this was one ‘do that will require some time (and a shower) to unravel.

Photo: Sonny Vandevelde/ Indigitalimages.com