71 posts tagged "Revlon"
Dita Von Teese posted this photo on Instagram yesterday to celebrate the coming of lilac season (at least in warmer regions), but pretty spring blooms aside, the bigger beauty takeaway was how stunning a deep berry lip looks with pastels. In lieu of tucking away my darker tubes as the mercury rises, I’ll be keeping them in rotation to counter my saccharine sartorial choices (like the lavender Miu Miu jacket I’ve had buried at the back of my closet all winter). For a shade similar to the one the burlesque dancer is sporting here, try Revlon Super Lustrous Lipstick in Black Cherry (currently available in limited-edition, Marchesa packaging).
Though winter isn’t quite done with us yet, there have been glimmers of hope, like those sunshine-y weekend afternoons when it’s been warm enough to lose a layer and retire the duck boots. A thrilling indication that warmer weather is indeed right around the corner. Makeup-wise we’re already getting in the mood with a lipstick shift of sorts, swapping the crimsons and wines of the past months for something lighter, brighter, and, well, pinker. And these five new hues spanning the pink spectrum feel like they can summon the sunshine, visually at least, despite the fact that there’s snow forecasted for the first day of Spring.
Revlon ColorBurst Matte Balm in Unapologetic
A creamy matte, a gorgeous not-sprung-from-nature kind of neon hue, and a puny price tag make this one a beauty no-brainer.
Surratt Lipslique in Bon Bon
A baby pink with the subtlest lilac undertone and negligee-sheer texture, it’s a grown-up version of your favorite frosty hue of yore. Also, Cate “She Can Do No Wrong” Blanchett paired it with her fluttery Givenchy gown at this year’s SAG Awards, and if it’s good enough for Cate…
Bite Beauty Matte Crème LIp Crayon in Satsuma
This is the pink we imagine Schiaparelli had in mind. A shocking blue-tinged hue that, much to our surprise, has a very approachable creamy texture.
Tom Ford Lip Color Sheer in Paradiso
A warm, looks-even-better-against-bronzed-skin pink and the luxurious velvety texture that has become Tom Ford’s lipstick MO comes housed in a retro-elegant ivory and gold case that would look perfect being plucked from a purse on the beaches of Biarritz. Paradiso, indeed.
Lipstick Queen Vesuvius Liquid Lipstick in Fuchsia
The glossiest of the bunch, this juicy fuchsia makes for a seamless transition from winter’s darker hues. Also, anecdotally, we’re fairly convinced it makes our teeth look whiter.
“It’s a modern take on an eccentric princess,” said Gucci Westman of the floating liner at Marchesa. “She has flawless skin and she’s only done one thing—that being an eyeliner.” To achieve it, Westman employed two jewel-tone shades and two different formulas, applying the Revlon ColorStay Crème Gel Eye Liner in Jade or Rio Blue (out in April) just above the crease, and layering it with a corresponding stripe of ColorStay Skinny Liquid Liner (available in June) in Green Spark or Electric Blue. Lashes were coated with a “tiny bit” of mascara and the tops of the cheekbones dabbed with Skinlights Face Illuminator. “Her outfit probably took much longer to put on than the makeup,” Westman quipped of her beauty muse.
Similar to Westman, hair pro Mark Hampton created two different looks—but instead of making a minor color tweak, he crafted completely different styles. The first was a series of tight cornrows done on the dark-haired models. Unlike Adam Selman’s use of braids earlier in the week, these were decidedly less Snoop Dogg and more “Highland girl,” Hampton explained. After he crafted five inverted braids at the crown, he gathered the length into a low-slung ponytail. His reasoning behind the recent resurgence of this particular plait: “They stop something from being too romantic and [provide] a younger, youth-culture vibe.”
The second look, for the blonds and gingers, was a “bad ballerina knot.” Hampton prepped strands with Toni&Guy Hair Meet Wardrobe Casual Sea Salt Texturising Spray for texture before pulling it all back into a high pony and winding it into a messy chignon. Wisps around the hairline were created with a small curling iron and topped off with Casual Flexible Hold Hairspray. As for why he doubled up on the dos: “[Georgina Chapman and Keren Craig] wanted to portray two different characters—one is a little bit more aggressive and the other is a little softer—and carry that thought across with the hair.”
A Spring 2014 trend was revived at Oscar de la Renta: wigs—short and choppy. Matching the hint of masculinity in the clothes (think pinstripes and leather), hair pro Orlando Pita tailored the faux strands to fit each model’s face—roughing them up with his own brand of dry shampoo. “We need to move on from the long hair thing, and I’d like to present an alternative to women,” he said. “You see [the look] on somebody like Jennifer Lawrence on the red carpet and it starts to look cool—it becomes a haircut and an evening dress instead of a hairdo and an evening dress.”
Gucci Westman cited Peter Lindbergh photos of Linda Evangelista as the inspiration for the “mousy gray-brown day eye,” which she crafted with four colors of Revlon ShadowLinks: Cocoa, Chocolate, Greige, and Charcoal. The roots of the top and bottom lashes were rimmed with a charcoal pencil, and the inner and outer corners of the upper waterline were given the same treatment to make it appear as if “they’d been crying,” she said. Cheeks were gently contoured, and lips were slicked with gloss in Super Natural. “Everything disappears except for the eye,” Westman noted.
“This is Saturday morning makeup,” Gucci Westman said of the yé-yé girls- and Katharine Hepburn-inspired look at Rag & Bone. “It’s about fixing what you had on the night before.” If you’re not Joan Smalls (who closed the show), you likely don’t wake up after a Friday evening out on the town looking anything close to this—at least I don’t. But Westman says it’s possible to turn last night’s liner into this graphic shape by applying Revlon ColorStay Crème Gel Eye Liner in Black with a skinny brush and perfecting the shape by tracing over it with the Liquid Eye Pen. “Pointed Q-tips clean up everything,” Westman said as she sharpened the wing on a model’s eye. As for the rest of the face, things were rather pared-down in order to achieve the “tomboy” aesthetic. The Rag & Bone woman doesn’t wear blush, she explained: “It feels too finicky.” Instead, she contoured and highlighted in all the usual places (cheekbones, bridge of the nose, cupid’s bow, etc.). Any pink or red tones in the lips were canceled using a beige cream shadow (on darker complexions) or a white liner pencil for fair-skinned girls.
Aside from having his three-month-old son by his side backstage, hair pro Paul Hanlon was excited about working with the designers for the first time. “What I love about them is that they’re pushing [the hair and makeup] bit by bit every season,” he said. To achieve a lived-in texture, he loaded strands with Schwarzkopf OSiS+ Grip mousse “to take the cleanliness out” and raked Rough Rubber paste through the roots for “separation and dirtiness.” Dust It was added through the mid-lengths and ends to provide a “dreadlock-y” texture before hair was pulled into a low ponytail. Hanlon tucked the ends through the elastic to create an “urban sports knot” and finished with hair spray. “She hasn’t washed her hair all week; she’s been out; she hasn’t got a hairbrush or a comb; she’s just yanked her hair back with a band and it got all tangled and knotted,” he said of the muse. Yep, sounds about right.