368 posts tagged "MAC Cosmetics"
After capturing the online community’s attention with her easy-to-access makeup guides, YouTube phenom and cosmetics line creator Lauren Luke has released a book. The tell-all reveals everything from a childhood spent being bullied at school to an unplanned teen pregnancy and finding love as a taxi dispatcher, all while building upon an ever-present obsession with lipstick and a smoky eye. We see a Lifetime original movie in her future. [Daily Mail]
While the idea of repairing your skin at night so that you wake up each morning with “a new blank canvas” is gaining steam, consumers are still pretty much, er, in the dark as to whether or not such claims can be believed. Oh, but one can dream… [NYT]
Forget listening to hip-hop on your ear buds before heading into competition. Michelle Roark, the 2009 U.S. freestyle skiing champion who moonlights as a chemical engineer, is convinced that smell, not rhythm and blues, can make you a champion. Her scent of choice is called Confidence, an eau she mixed up from a blend of rose oil, bergamot, and grapefruit. Even if it doesn’t work for everyone, as she maintains it does, it’s way cheaper than hiring a motivational coach to help sort out that low batting average. [WSJ]
With new macabre collections from brands like MAC and Chanel, black makeup is still making headlines this season. For those of you who are hesitant to embrace the trend in fear of toeing the goth line, fret not: The obsidian color ranges are now being branded as “glam-grunge.” If that offers any consolation. [The Star]
There are times when conceptual art, rather than actual wearability, can resonate backstage as much as on the runway. Yesterday was one such occasion, when Alexander McQueen presented his Plato’s Atlantis collection, enlightening his hair and makeup team on the wonders of alien movies, Art Nouveau, and Darwinism—all of which informed his Spring presentation. In response, Redken’s Guido Palau and makeup artist Peter Philips crafted looks that were more about a feast for the eyes than anything else. “Some things are like couture,” noted Palau of his intricate amphibious coifs. “It’s a fantasy that’s there to inspire people.” Setting any notions of at-home duplication aside for a moment, Palau’s winged ‘dos and interwoven braids were awe-inspiring for their theatrical nature, which could place them comfortably in a sci-fi super-production—less so in real life. The makeup story unfolded in a similar manner, progressing from a uniform beige base to full-on prosthetics for an homage to otherworldly (or, rather, underworldly) creatures. To capture a certain extraterrestrial allure, Peter Philips started with shiny foundations to even out skin tone and to blank out brows, as is popular practice these days. He followed that up with varying warm and cool shades of Chanel and MAC pigments to conjure “evolutionary” skin tones and shapes. Not necessarily everyday wear, per se, but definitely handy inspiration with All Hallows’ Eve just around the corner.
As the debate over the success or abominable failure of the Lindsay Lohan/Estrella Archs debut for Emanuel Ungaro rages on—click here to add to the discourse—the backstage beauty scene was significantly less controversial, as it neatly summed up two of Spring’s key trends: the continued dominance of the statement lip and sleek hair. This meant “couture lips,” as makeup artist Carole Lasnier called her homage to the house’s penchant for hot pink, which were built more so than applied. Lasnier alternated layers of MAC Pigment in red and fuchsia with its creamy, opaque Lipmix for a pout that was so thick it needed to be spackled on with a makeup brush handle. “The concept was no fake lines,” Lasnier said, “just color,” which she amped up with the high-shine polish of a transparent gloss just as models headed for the catwalk, pasties and all. For his part, Bumble and Bumble’s Laurent Philippon added yet another “dynamic” high ponytail to the season’s record books, dividing it into two sections and coating each with Bb’s industrial-strength Gellac before twisting them into a ropelike braid. To keep what he called the “pure line” of the style, Philippon covered the bottom with more gel for hold. You can mark our words that both hair and makeup looks will be popular with the Hollywood and international party set in the coming months, but whether they will actually be paired with Ungaro’s bright, one-sleeved numbers and draped white minis remains to be seen.
With all of the new Spring hair and makeup looks we’ve been privy to over the last month, it’s easy to forget that some of the big Fall beauty trends from last season are now available for purchase. The face-full-of-ash scheme from Gareth Pugh’s show this week jarred our memory a bit and made us remember the popular gray lip that dominated the runway from New York to Paris back in March. A few brands have managed to successfully re-create the morbid hue by opting for a warmer tone of the somber color—let’s call it “greige.” The best bullets we’ve seen so far are YSL’s Rouge Volupté No. 24, which launches next week, and MAC’s Our Pick, which is currently in stores as part of its F/W Trend 2009 Collection. Both pigments come off looking like an edgier, sophisticated nude and are very accessible adaptations of the tricky-to-wear shade.
To properly achieve the much discussed dawn-of-the-dead look backstage at his Spring show yesterday, Gareth Pugh needed more than just sleep-deprived models and some well-placed soot. So he called on Alex Box, a frequent Pugh collaborator and the co-creator of our favorite goth makeup line, Illamasqua. Box had pieces of black and white mirrored plastic laser-cut in the shape of eyeliner and false eyelashes for Pugh’s Spring 2009 show. She easily puts the artist in makeup artist, and her efforts yesterday were an exercise in true showmanship. Prepping models’ skin with MAC’s Studio Fix Foundation to create a flawless base, Box started in with a full palette of gray tones. Using an airbrush as her weapon of choice, she sprayed MAC Pro Micronized Airbrush Foundation in a combination of Black and White onto skin for that perfect six-feet-under pallor and added red accents to the under-eye area for a realistic zombie effect. But the real kicker came when it was time to block out models’ brows. According to a Twitter post from MAC senior artist Victor Cembellin, who was on site, Box used glue sticks and MAC Colour Correctors to make them disappear. “I’m going to spill the beans,” Cembellin tweeted. “Glue sticks are a great (theatrical) way to cover brows!” Old news for drag performers, completely novel information to us. Who knew?