30 posts tagged "Maybelline"
When I first spotted model Malaika Firth she was sitting on her mother’s lap backstage at Altuzarra. And throughout the remainder of the Spring 2014 season I bumped into Malaika and her mom again and again…and again. She made quite a debut—racking up an impressive fifty-five shows, as well as garnering spots in campaigns for Valentino, Burberry, and Prada. To cap off her year, Firth walked the glittery Victoria’s Secret runway alongside current supers such as Karlie Kloss and Cara Delevingne. The one thing that has eluded the young catwalker thus far: a beauty contract. Judging by this video on Instagram, during which she shows off her Maybelline Baby Lips balm, it won’t be long before this fashion darling is signing her name on the dotted line.
Since launching last year, Maybelline’s aptly named Baby Lips Repairing Lip Balm has won a good many fans while serving time in the backstage trenches. Between its adorably colorful, graffiti-style packaging and its silky smooth formula that’s bolstered by aloe, shea butter, and the antioxidant-power of the Indian herb Centella asiatica, the playfully designed bullets were an easy sell; its new, limited-edition collection of sweet-smelling, softly-hued offerings is an even easier one. For the month of January only, Maybelline has released five new shades of Baby Lips in Coral Crush, a sheer apricot; Pink Wink, a transparent bubblegum; Yummy Plummy, a barely-there mauve; Melon Mania, a pretty fuchsia; and our personal favorite, Twinkle, a perfectly pale, icy rose. At a very affordable $3.99, there’s no reason not to indulge in all five—while they’re still around, that is.
Available at Drugstores.
Maybelline is known the world over as a global leader in mascara. Between its well-loved Great Lash and later incarnations like its Volum’Express The Falsies and Volum’Express The Mega Plush, the New York brand makes something for everyone in the way of eye-batting, drama-tinged lids. Its latest innovation has a certain…animal magnetism. The Colossal Cat Eyes Volum’Express comes in a yellow and bronze, cheetah-print tube and boasts a “claw”-inspired brush that’s meant to grab individual lashes and coat them with glossy black pigment. And that’s just what the curved tip does, resulting in impressive separation and length. It’s the first mascara we sampled when we received it last month following a summer spent with eyelash extensions, and it certainly helped mourn the loss of the, er, enhancements that were—and at a mere five dollars a pop, it also happens to be a way more affordable habit-forming beauty addiction.
Fashionphiles wondering where Freja Beha Erichsen has been for the past few seasons will be relieved to know that the Chanel and Valentino muse has been busy negotiating a gigantic new beauty contract. The Danish supe has just been named the new face of Maybelline. [WWD]
Child star-turned-fashion star Elle Fanning has also nabbed a beauty contract and will star in a new film for Lolita Lempicka’s signature women’s scent. [WWD]
Lana Del Rey is the latest high-profile star to embrace fall’s severe brunette dye job, coloring her long, golden brown locks a shade of deep coffee. [Glamour]
The big star of last night’s round of Democratic National Convention speeches wasn’t Michelle Obama—it was her nails. The greige color sent the Twitterverse into overdrive as MObama fans—and political pundits!—tried to guess her preferred polish. [Jezebel]
Charlotte Kemp Muhl has something of a charmed life. The pouty-lipped model’s Maybelline contract and her duties to The Ghost of a Saber Tooth Tiger, the band she fronts with boyfriend Sean Lennon, mean a constant string of international gigs and high-profile photo shoots. But she’s finding inspiration in her more humble beginnings for her latest musical interlude. While growing up in Georgia, she wrote a handful of songs for her longtime best friend and classically trained choral singer Eden Rice, which the duo has unearthed to form Kemp & Eden. Their debut album, Black Hole Lace, has them falling somewhere between Kate Bush and Simon and Garfunkel and utilizing philosophical lyrics (“Athena sprang from Zeus’ head / Lobotomy or cesarean?”) and ethereal harmonies all culled from the tracks they penned in their early teens. “We’ve been writing new songs recently, but funny enough, they haven’t changed that much,” says Muhl. “Frankly, I was a lot more mature when I was 14 than I am now—I’m totally in my fart jokes phase.” Here, the duo talks to Style.com about homespun face masks, hoarding Gunne Sax dresses, and why sometimes music trumps modeling.
You’ve known each other since you were children—why come together now on a music project?
Charlotte Kemp Muhl: We had given up on our childhood ambitions of writing music and being in a band—it seemed like a pipe dream—until I met Sean. He heard us playing live on a guitar at The Dakota, at his mom’s house, and said, “I really want to produce it!” So we put out this acoustic EP.
Is the writing process a collaborative one?
CKM: I actually write all the songs technically, but Eden has major veto power, and I write what I think she would like because she’s the lead vocalist. She’s a much better singer than I am—she was in a choir her whole childhood. I’m more of the songwriter, and I sing harmonies. With The Ghost of a Saber Tooth Tiger, it’s a guy and a girl, 50-50, and it’s definitely more of a struggle and more of a fight [writing songs]. It’s interesting because that represents exactly a world between a male and a female brain, and I do a lot of androgynous, experimental stuff with that. With Eden, it’s really feminine; it’s very soft and romantic, and more about the ethereal.
Having busy lives, how do you find the time to work on Kemp & Eden?
Eden Rice: We live with each other!
CKM: We live in Sean’s house so we see each other almost every day. [But] it’s hard, we really have trouble finding time to work on any of our projects. Luckily, we’re able to work pretty fast once we decide to; we did that whole EP in a week. We’re ready to finish our next record, which is pretty much already recorded. We also got our own guitarist—we used to rely on Sean a little too much, he was our guitarist and producer and relying on his schedule was really difficult. We’ve been doing stuff ourselves, which has liberated us.