10 posts tagged "Golden Globes"
“It’s more modern and cool not to use shimmer—especially with HD cameras,” said makeup artist Rachel Goodwin, who prepped Emma Stone for the Globes on Sunday. In lieu of sparkle, the face painter contoured the sides of the star’s face with Chanel Les Beiges powder, dusted her apples with Revlon Powder Blush in Oh Baby! Pink, and topped off her cheekbones with Le Jour de Chanel moisturizer. “It gives [the skin] that lush, hydrated quality, but doesn’t look reflective,” she explained. (If you love a good selfie, keep this tip in the bank). Stone’s smoky eyes acted as the “thread” between the bottom of her Chanel dress and her beauty statement. To achieve a more “casual” vibe, Goodwin applied Revlon’s ColorStay Eyeliner in Charcoal as a wash across Stone’s lids and muted it with a taupe powder shadow—pulling the shape out just slightly at the outer corners. To finish, she ran the same pigment along the lower lash lines. As for Stone’s pre-game plans, since she skipped out on the red carpet before presenting an award to Woody Allen: Watch your colleagues endure the long walk in Louboutins on TV and “gasp over Cate Blanchett’s gorgeousness,” revealed Goodwin. Celebs…they’re just like us.
“It’s like being with a bride on her wedding day. It is so special and means so much to me. It is such a special group of people who are with these women on their big day.”
For first-time Golden Globe nominees, the red-carpet experience can be just as overwhelming as it is exciting. Lippmann, who did Lupita Nyong’o’s nails, provided a Zen-like, pre-award-show morning for the star—a welcome break from the hectic months of endless promotion for her film 12 Years a Slave—complete with laughing, singing, and, of course, pampering. On Nyong’o's nails: Deborah Lippmann Nail Color in Naked and Diamonds and Pearls. On the duo’s playlist? Beyoncé.
You would never know by Cate Blanchett‘s flawless facade, but that Grace Kelly-esque hair was not always the plan. Inspired by the vintage photo above, mane master Robert Vetica had proposed the idea to the Blue Jasmine star, but they ultimately decided to leave it down with a slight bend at the end since her look at the Los Angeles Film Critics Association Awards the previous day received such rave reviews. After prepping strands with Vidal Sassoon Pro Series Boost & Lift Foaming Air Mousse, blowing it out, and wrapping sections around a curling iron, Vetica pinned it up just so Blanchett could slip into her Armani Privé dress without mussing up the finished product. And then—if you’re a celebrity hairstylist—disaster struck: Blanchett loved the silhouette of the tucked hair so much that she wanted to keep it. With only 15 minutes to spare, Vetica told the team to “get those earrings on” and get her in his chair so that he could make the set a permanent style. “There is a sense of calm,” he said of the last-minute switch, “but inside you’re ready to scream.” Vetica would have employed a different technique if he had been starting from scratch, but he had no choice but to pin everything to the nape of her neck with a handful of bobbies. “There was nothing for the hair to grab onto,” he explained. In other words, that classic roll was hanging onto a hope and a prayer. “Oh, honey, I’m still nervous—I don’t even want to watch TV,” he said during the show. For extra support, the pro “coated that sucker” in Pro Series Flexible Hold Hairspray before finally sending her off.
Maquillage, on the other hand, was far less dramatic. “We spent the week trying different things out, so by today I had an idea of what I wanted to do…I took all the best bits and put them together,” said face painter Jeanine Lobell. “I’ve been working with Cate for 15 years, so you wouldn’t think I would need to rehearse…She doesn’t even sit in front of a mirror when I do her makeup,” Lobell quipped. The pro began by applying Blanchett’s go-to “Jason mask,” otherwise known as the SK-II Facial Treatment Mask, for a boost of hydration. In order to “balance something heavy on the bottom with something on the face,” Lobell focused on the mouth, cheeks, and arches to “hold the dress.” Pink, beige, and gold shadows were dusted across Blanchett’s lids for “texture and depth,” while a combo of Nars Highlighting Blush in Satellite of Love and translucent power were layered on her apples until the perfect flush was achieved. To add dimension to the lips, the pro used Giorgio Armani Rouge Ecstasy Lipstick in 502 like a liner, feathering it in toward the middle, then coated the center with 509, a nude rose. “If I had to give the [end result] a catchphrase, it would be ‘romantic but modern.’ We mixed periods in a way in that it was a strong brow with a super-lashy open eye—kind of Mia Farrow.”
In the end, all of the pieces of the Golden Globes puzzle came together in time for Blanchett to secure yet another statue. “She’s so awesome in this movie, that we wanted to blow it out for her,” Lobell said of the joint effort. Mission accomplished.
Unlike many makeup artists, Genevieve Herr prefers to start with skin and finish with eyes. This is the process she’s adhered to in the twelve-plus years she’s worked with Julia Roberts. Despite the fact that she was crafting a bold (and often messy) smoky eye for the Golden Globes this evening, Herr didn’t deviate from the tried-and-true system. “I wanted the [makeup] to match the structure of the dress,” she explained in an exclusive interview. To avoid any fallout and craft the perfect, “catlike, Sophia Loren” shape, she applied Lancôme Liner Design Gel Eyeliner in Black Fishnets all over the lids—steering clear of the inner corners to keep the eyes looking bright and open. To set, she topped the liner with Color Design Eye Shadow in It List and The New Black. “The key is to shake the brush [after dabbing it into the pigment], blow on it, and then apply to the eye,” she explained. The same trio of products was used on the lower lash lines and blended with a cotton swab. A couple coats of Hypnôse Doll Lashes Mascara and a few false lashes on the outer corners acted as the finishing touch. And since a beige mouth with a smoky eye has “been done before,” Herr opted for a “raw” shade close to Robert’s natural lip tone (Rouge in Love lipstick in Lasting Kiss). “It’s much more modern if you add a little color,” she said. As for verging into bolder territories, don’t hold your breath. “We have never done red lips…[Julia] has big lips, so there’s no need to define them with [vibrant] lipstick.” You’ll have to re-watch Pretty Woman to see that makeup move (paired with white opera gloves) in all its nineties glory.
Lupita Nyong’o may be relatively new to the red-carpet scene, but she looked like classic Hollywood royalty at the 71st Annual Golden Globe Awards—which was makeup artist Nick Barose’s long-standing game plan. Seeing as he got a sneak peek at her Ralph Lauren gown before the holidays, he spent his downtime watching old movies and getting inspired. Earlier in the week, he explained, “I’m thinking it’ll be something regal—a cross between Queen Nefertiti and Audrey Hepburn in Roman Holiday. That was Audrey’s first film that got her nominated for awards, [similar to] Lupita [in her breakout role as Patsey in 12 Years a Slave]. They kind of remind me of each other: poised, elegant, classy, and big, open, animated, youthful eyes.” Add to the mix Vivien Leigh in Caesar and Cleopatra, and you’ve basically built Barose’s mood board.
For “a bit of Egyptian flavor” that didn’t look costumey, the face painter used Chanel Ligne Graphique de Chanel liquid liner in Noir to draw a strong cat-eye shape, then swept a shimmery blue shade along the bottom lashes to define but not “overwhelm.” Lids were topped with Ombre Essentielle Soft Touch Eyeshadow in Complice, and a “1950s movie-star brow” was created with the Crayon Sourcils Sculpting Eyebrow Pencil in Noir Cendré. To complement her dress, he applied a sheer version of a similar color (Rouge Allure Intense Longwear Lip Colour in Pirate) to her mouth and tapped a gold gel pigment (Illusion d’Ombre Long Wear Luminous Eyeshadow in Vision) in the center to highlight. “This was playtime for us,” Barose quipped.
Below, an exclusive sketch from the man behind the maquillage: