23 posts tagged "Make Up For Ever"
They 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.
One shadow shade that’s particularly tough to pull off: orange. Similar to red or pink, when improperly swathed across lids, it can create a look reminiscent of a seasonal allergy attack. But here to prove the beauty critics wrong is Gigi Hadid, who wore the hue to the DKNY Memorial Day fundraising dinner in East Hampton on Sunday night. The model played it smart by selecting a golden apricot laced with a metallic pigment, anchoring the color with lush black lashes and keeping the rest of her face relatively bare (save for an allover bronze glow). While you may need to work on your tan (or fake it with our editors’ go-to products), re-creating Hadid’s sunset-like eyes couldn’t be simpler: Apply a wash of Make Up For Ever Diamond Shadow in Diamond Peach with a fluffy brush from lash line to crease and amplify fringe with a few coats of Maybelline New York Volum’ Express Pumped Up! Colossal Waterproof mascara.
“It’s about purity of line,” hairstylist Sam McKnight explained of the sharp and minimal look he crafted at Fendi. “Karl sent me an illustration with a very small head.” To keep strands compact, McKnight employed a lot of Sebastian hairspray and made two side partings on either side of the face, dividing the hair into two small sections near the crown. Next, he folded the sections over one another, tying each off into a ponytail with a piece of elastic. “It’s like a basket weave or origami,” he noted of his technique. Then the sides were scraped back to cover the elastic and gathered into a low pony, which was later wrapped with a piece of the tail to hide the band. While the style appeared seamless, it required “pins and grips” (which were pulled out after the hair was set into place) and at least two pros per model to create.
Playing off the linear elements in the hair, face painter Peter Philips opted for cinematic highlighting and shading over a “proper makeup statement.” Seeing as the collection was filled with stark contrasts—tough fabrics and delicate orchids; fluffy furs and shiny, sleek jackets—he wanted to keep the look strong but simple, so as not to clash with or overtake the clothes. A full-coverage foundation was used to perfect complexions before it was powdered to a semi-matte finish. Then he applied a pure white Mehron CreamBlend Stick on the cheekbones. Philips said he tested out a pearly illuminator but found the result “too pretty,” and these girls needed to be “tough.” A taupe, matte pigment was run along the hollows of the cheeks, and eyes were given a graphic feel with a blend of two brown Make Up For Ever shadows (#17 and #165) just on the outer corners. Not wanting a cat-eye effect, Philips concentrated the color on “the spot between the socket and the eyeball,” angling it downward, “like old photos of Marlene Dietrich or seventies Guy Bourdin makeup.” Lips were topped off with transparent gloss. “It doesn’t look natural, but 50 percent of the makeup will blend in with the light on the catwalk,” he explained. And Philips was right. With drones buzzing overhead, the intense, almost-theatrical contours disappeared—all that remained were models’ perfectly chiseled features as Cara Delevingne kicked off the show, a Lagerfeld-like Fendi bug daintily dangling between her thumb and forefinger.
Everything is going digital these days—a fact acknowledged by Karl Lagerfeld at Fendi this season. The concept was infused into the collection via graphic shapes rendered in close-cropped fur and bold blocks of chiffon, while face-painter Peter Philips translated the creative director’s “digital code” into one distinctive hit of “chemical peach” on the lips, a shade inspired by the show’s invitation (pictured above). After outlining the mouth with Make Up For Ever Aqua Lip Waterproof Lip Liner Pencil in 18C, he filled it in using Rouge Artist Intense in 39 straight from the tube. “It’s a bit of an odd [hue] that has a very classic feeling—it could be a sixties lipstick,” the face-painter explained, “but it’s also very futuristic looking.” The rest of the face was devoid of color, using foundation and powder not only to lend a “satin-matte” finish to models’ complexions, but for practical purposes as well: “It’s easier to brush the [clippings] from the wigs off of this type of texture,” he said. After running a thin stripe of Chanel Stylo Yeux Waterproof Long-Lasting Eyeliner in Ébène across the upper rims, he curled the top lashes and locked in the shape with Inimitable Waterproof Mascara.
The short and choppy mop tops, created by hairstylist Sam McKnight, were influenced by Lagerfeld’s original sketch, Linda Evangelista in the eighties, the Beatles, and “a little Japanese thing thrown in,” he said. To blur away the individual and create a singular army of Fendi-bots, black wigs were fitted to each girl and tailored into a bowlish shape using a razor. “I wanted to keep it looking wiggy,” McKnight added. “Not kid people into thinking this was real hair.” The imperfect crops were finished with a liberal dose of Oribe Dry Texturizing Spray for a “fluffy, not dirty” finish. If the Kaiser and the King of New York (Marc Jacobs) have given the bowl cut the green light, perhaps it’s time to think about using your dishware for things other than cereal, and replacing the spoon with a pair of scissors. Or maybe just trying the trend on for size at the nearest wig shop…
As previously mentioned (on multiple occasions), minimalist beauty was one of Spring’s big, overarching trends, as clean complexions, sculpted contours, and, in a lot of cases, no mascara at all became the norm from New York to Paris. But within this new world of less-is-more makeup, a preference emerged for a particular skin finish that looks to have some staying power off the runway. Gone was the dewiness that typically comes with spring’s warmer clime; in its place, a bright, velvety texture that never verged on chalky. “Fresh matte” is how Pat McGrath described it backstage at Valentino, where she was channeling Dutch stunner Maud Welzen’s soft peaches-and-cream complexion. “A lot of people don’t want shiny faces anymore,” McGrath pointed out—and by “people,” she was referring to the laundry list of big-name designers and magazines that entrust her with face-painting duty each and every season. “When you’ve got HD cameras and sweaty faces, it just doesn’t work,” she rightly pointed out. The secret to achieving the kind of matte skin that still looks breathable and bright? Pulling out your powder compact after you’ve applied everything else, according to McGrath. That’s right—the makeup maestro actually blended in her blush, contours, eyes, and lips, and then swept on a veil of fine pressed powder.
We realize this sounds relatively crazy—especially to those of you for whom powder never even factors in to the equation (we’re with you). But the right powder just might make a believer out of you yet. Hitting shelves this month are two great options, from Hourglass and Make Up For Ever, that put a new spin on more traditional mattifying compacts. MUFE’s Pro Finish multiuse palette can be applied wet for a sheer satin effect or dry for a fuller matte finish that still reflects light, thanks to a formula bolstered by the minerals silica and sericite, as well as ximenia oil and aloe vera to ensure a smooth application. Hourglass’ new Ambient Lighting Powder filters out harsh, unflattering rays as well, using color-correcting particles in six different shades to reveal super-fresh, shine-free skin. Dust on liberally.