7 posts tagged "François Nars"
Makeup artist Nick Barose is clear on one thing: He is not quitting his day job. Barose is the man behind the maquillage for celebrities such as Lupita Nyong’o and Kate Mara, but like many other face painters—Serge Lutens, Tyen, François Nars, and Kevyn Aucoin (whom he assisted)—taking photos, and sometimes starring in them, is how he makes his dreams a reality. “It gets frustrating when you have a vision in your head and you can’t bring [it] to life because nobody would shoot it, or it ends up being their vision,” Barose explained. In order to assume creative control, he took the lessons he learned at the International Center of Photography—and from working on the sets of Irving Penn, Richard Avedon, Annie Leibovitz, and Patrick Demarchelier—eliminated the flaky models, and created a series of self-portraits in which he explores his Asian roots. “My grandfather was a well-known classical Thai dancer for King Rama VI and had his own troop,” he said. To make these exotic looks appear more authentic, he explored traditional methods of makeup application—opting for fingers and sticks over a bevvy of brushes. Here, the behind-the-scenes mainstay talks us through his time spent in front of the lens:
“I was inspired by the iconic image Monsoon Girl by photographer Brian Brake. I re-created it by using cream bronzer to make my skin more coppery—outdoorsy, like the kind of guy that’s out farming all day, every day—and a little bit of black kohl liner to make my eyes more exotic. The fake raindrops were created with a garden hose, and the bananas came from my parents’ backyard in Thailand.”
“I enjoy looking at photographs of sadhus [holy men] in India. They use only a few colors to paint their faces and all are from nature, like yellow, red, black, brown, and white—which usually come from cow dung and mud. I only used the palms of my hands, fingertips, and a few sticks to create this organic, earthy look.”
“Inspired by Red Boy by Steve McCurry—a photo of a boy at the Holi festival in India that appeared in National Geographic—I used my grandmother’s vintage teacup as a prop, as well as my dad’s ruby rings. The red face paint was actually MAC blush in Frankly Scarlet.”
“This is Princess Rojana and Prince Sung Thong from iconic Thai [folklore]. In this story, the prince has a beautiful golden body inside, but only a person worthy enough would see his true form—an ugly version is on display for everyone else. I interpreted this with gold face paint and the mask on top. Princess Rojana sees the prince’s true [self], so she threw a garland at him and chose Sung Thong as her husband. I had to drape that costume a certain way so that it would cover my bicep and make my arm appear more feminine!”
“I love looking at my grandparents’ vintage portraits. They got all dressed up and posed properly—sometimes with props like flowers, a fan, etc. For this portrait, I painted a unibrow, like in an old Indian painting. I lit it very specifically so the sparks in my eyes mimic the sparks in the earring.”
Art begets art. And two beauty giants’ most recent makeup collections—NARS + Guy Bourdin and Shu Uemura + Takashi Murakami—prove just that. But much like the artists whose work inspired them, they couldn’t be more different. Photographer/provocateur Guy Bourdin was actually one of François Nars’ early inspirations to pursue a beauty career, and it’s easy to understand why: makeup—severe makeup, at that—figures large in his images. Bourdin’s studies of dangerously beautiful women usually in various states of undress, and always in compromising positions, may not win any feminist accolades, but photographically speaking, they are stunning, and his signature dramatic, color-saturated style translates easily to cosmetics. The NARS collection is chock-full of the same intense hues as Bourdin’s image—particularly striking are the nail polish in Follow Me and blush in Coeur Battant (both, a vivid fuchsia), the Cinematic eye shadow in Wishful Thinking (a deep cobalt), and the Cinematic lipstick in Short Circuit (a bright, orangey red). At the opposite end of the artistic inspiration spectrum is the Shu Uemura/Takashi Murakami mash-up. The eighteenth collaboration between the Japanese beauty brand and neo-Pop artist extraordinaire takes its cues from Murakami’s forthcoming 6 Heart Princess animation series, and the graphics and colors of Uemura’s interpretive makeup are fittingly lighthearted and whimsical—think pretty pinks, iridescent pastels, and quietly shimmery grays. My favorite: the Lip & Cheek Fun-tasy in Magical Red, a perfect crimson with a velvety finish. Both collections are, in this critic’s estimation, affordable art at its finest.
Marilyn Monroe on a Scent That Never Loses Its Sex Appeal; When It Comes to Miley, We Called It; Double Your Fragrance Fun With the Olsen’s Latest Launch; and More
Chanel released its new ad for No. 5 (dropping November 11) and the recording the house dug up in Marilyn Monroe’s archives. Makes us want to swap out our oversize sleep shirts for the far sexier fragrance.
Not to brag or anything, but we figured out Miley Cyrus’ Lil’ Kim Halloween costume long before she debuted it on Instagram. Perhaps we should have gone as Long Island medium Theresa Caputo last night…
Two is often better than one—especially when an Olsen is involved. Mary-Kate and Ashley’s latest endeavor: two Elizabeth and James fragrances dubbed Nirvana Black and White launching in January at Sephora.
Those monthly beauty-box subscriptions filled with sample-size products often leave much to be desired, but the latest Glossybox by Net-a-Porter (available November 4) is seriously impressive. A full-size, bullet-shaped Ellis Faas Mascara, RGB Cuticle Oil, and Kevyn Aucoin eye shadow duo are included, along with trial tubes and cans from luxe brands like Natura Bissé, Klorane, and Philip B.
Makeup artist extraordinaire François Nars is releasing a book published by Rizzoli—Faery Lands: Tahiti—filled with sepia-toned imagery from his island (yes, all his), Motu Tané, off the coast of Bora Bora. It hits the shelves of NARS boutiques and bookstores mid-November.
When they talk about the Axe effect, we don’t think the brand had asphyxiation by body spray in mind. After being spritzed in a sixth-grade Brooklyn classroom, eight children were sent to the hospital. Unlike the commercials, no bodacious models in bikinis appeared. We can only imagine the disappointment of those 12-year-old boys. [Time]
If you looked at the models at Marc Jacobs and thought, “Did they plop a bowl on their heads and take a pair of scissors to their hair?” you were on the right track. To achieve the uniformity the designer requested, hairstylist Guido Palau fitted models with blond wigs dyed by Victoria Hunter at Whittemore House Salon in New York City, then went at them with scissors and razors. The references for the choppy style: surfers, Los Angeles, and kids who cut their own hair. To add texture, he dressed strands with Redken Forceful 23 Super Strength Finishing Spray.
François Nars also set out to make the girls appear more “interesting” than pretty, “characters” over classic beauties. “I’m bored to death with the healthy look,” he explained, using only NARS Pure Radiant Tinted Moisturizer on the face. The eyes are where he added the edge, rimming the upper and lower waterlines with either the Eyeliner Pencil in Kalisté (a darkened teal) or Larger Than Life Eyeliner in Blue Dahlia (a cobalt shade launching for the holiday season)—adding a small “slash” of color to the inner and outer corners to finish. The final touch was “tons” of black mascara.
And while manicurist Marian Newman insisted that the squared-off tips coated in a specially created color (Bark!—available for summer 2014) of Enamored Hi-Shine Lacquer from Marc Jacobs Beauty were not French in style, the tiny jet-black crystals lined along the free edge certainly said otherwise. “The whole point [of this manicure] is that it’s all a little bit wrong—it’s Spring/Summer and we’re using a grungy brown.” I suppose I never expected to see a look that was in step with the rest of the week; after all, this is a man who sets the trends.
Amber Valletta already proved herself capable of taking on the role of Catherine Deneuve once (the supermodel reenacted the actress’ legendary character from Belle de Jour in François Nars’ much-lauded photo book 15×15). So when the face painter decided to base his entire Spring collection around another Deneuve heroine—Lucile, from Alain Cavalier’s 1968 film La Chamade—Valletta obviously got spokesperson dibs. Nars is calling this season a time to “embrace color and get noticed,” and his new campaign image reflects the sentiment with bright, golden moss-hued eyes courtesy of his new Camargue Duo Cream Eyeshadow; a strong pink cheek, which Nars created using his Amour Blush; and a glossy nude lip that’s been amplified with a contrasting Lip Pencil in Borneo. The result is retro yet still modern—not to mention a pretty good homage, don’t you think?