tag:blogger.com,1999:blog-24609820368651073092024-02-18T17:29:32.936-08:00Mirror Mirror On The WallKatie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.comBlogger125125tag:blogger.com,1999:blog-2460982036865107309.post-34076493814690455032012-11-08T03:00:00.000-08:002012-11-08T03:00:08.978-08:00<br />
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Katie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.com0tag:blogger.com,1999:blog-2460982036865107309.post-78319538161527200582012-11-08T00:30:00.000-08:002012-11-08T00:30:01.120-08:00Runway Makeup: Michael van der Ham Fall 2012<br />
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Mac's Lauren Parsons described the Michael Van Der Ham look as "Veronica Lake meets 2012".<br itxtnodeid="191" /><br itxtnodeid="190" />She created a flawless base by using Mac Mineralise Charged Water Lotion followed by Face + Body and concealer.<br itxtnodeid="189" /><br itxtnodeid="188" />Russian Red added a light stain to the lips, with lip balm lightly patted over the top and and cheeks were contoured with Taupe Powder and Lady Blush.<br itxtnodeid="187" /><br itxtnodeid="186" />Brows were 50s inspired and brushed upwards with a strong arch for that elegant Elizabeth Taylor look, while Blacktrack Fluid Liner was applied in a feline shape before lashes were curled, with mascara on both the top and bottom. For that extra feline look, a half a set of falsies was added to the top lash line and eye liner was applied on the lower rim while NCIS and NW20 pencils were used on the lower lash line for a natural shadow.<br itxtnodeid="185" /><br itxtnodeid="184" />Last but not least, gold leaf was added at the inner corners for an ultra-glam finish. </div>
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At Michael van der Ham make-up artist Lauren Parsons adorned a traditional 50s feline eye with gold leaf for a modern take on a classic. She used a a natural hues Paint Pot under the eye to create subtle shadow and MAC Pro Chroma Graphic pencil in either NC15 or NC120 in the lower water line to give subtle, sexy feel to the eyes.<br itxtnodeid="202" /><br itxtnodeid="201" />Luke Hersheson prepped hair with Pli before tonging and pinning hair in place to set. Hair was let loose, brushed through with a soft bristle brush and misted with plenty of L'Oreal Professional tecni art fix design. It's slightly more wavy than the classic Lake look which gives it more edge. </div>
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Katie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.com0tag:blogger.com,1999:blog-2460982036865107309.post-91095707881867767472012-11-07T03:00:00.000-08:002012-11-07T03:00:03.150-08:00Runway Makeup: Moschino Cheap & Chic Fall 2012<br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #999999; font-size: xx-small;">stylebistro.com</span></td></tr>
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Mac's Val Garland created a fresh faced look for Moschino Cheap & Chic, which she described as "very plain and simple using fleshy, peachy tones". This meant that foundation and eye makeup was kept light, in-keeping with the natural skin feel, as really, this look was all about the glittery, pink lips in a variety of shades.<br itxtnodeid="121" /><br itxtnodeid="120" />The lips were lined with a paler colour first to act as an adhesive and to create a 3D effect. A white powder was dusted over the chin and the lips were covered in either a light pink or fuchsia shade of glitter, which was patted down with a flat brush to smooth any excess from the edges and remove the white powder that caught any glitter from the chin.<br itxtnodeid="119" /><br itxtnodeid="118" />Eyes were nude and clean with a cream eye pencil inside the lid and little colour was added to the cheeks (Val told us she was bored of highlighting). Brows were brushed backwards for a bushy look (another key trend for the season) while eyelashes were left bare. </div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #999999; font-size: xx-small;">stylebistro.com</span></td></tr>
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Katie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.com0tag:blogger.com,1999:blog-2460982036865107309.post-25977698866974534812012-11-07T01:30:00.000-08:002012-11-07T01:30:02.087-08:00Runway Makeup: Felder Felder Fall 2012<br />
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Felder Felder's Autumn/Winter Blonde collection was inspired by Ryan McGinley's cave photographs and for Mac's Key Makeup Artist Georgina Graham, it was important to keep the makeup natural, textured and tonal to fit in with the raw and wild, arid winter theme.<br itxtnodeid="88" /><br itxtnodeid="87" />Graham used Mac Mineralise Moisturiser all over the face before applying Longwear Concealer Foundation and Prep + Prime Highlighter to hide dark circles under the eyes.<br itxtnodeid="86" /><br itxtnodeid="85" />If there's one product that has created a stir backstage so far this season, it's the Sculpting Cream. Graham used two of the six shades by blending them onto the cheeks horizontally for a weathered look. She said, "The amazing thing about these creams is that they can be used over a powder. They're great for building up textures".<br itxtnodeid="84" /><br itxtnodeid="83" />As well as the new Sculpting Creams, Mac's second most coveted new product, the Full Trend Lip Palette, added to the beautiful, natural look. Graham used "the perfect nude", French Nougat as a lip balm by pushing it into the lips for a soft sheen. </div>
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Katie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.com0tag:blogger.com,1999:blog-2460982036865107309.post-46809208924280855702012-11-07T01:00:00.000-08:002012-11-07T01:00:09.693-08:00Runway Makeup: Burberry Prorsum Fall 2012<br />
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Surprisingly, no one backstage at Burberry mentioned anything about this season’s town and country girl needing waterproof makeup for when she heads to the Cotswolds. Maybe it was because she’ll have an umbrella like those carried by the models at the close of the show — post-artificial rainstorm. Both the makeup artist Wendy Rowe and the hairstylist Neil Moodie made references to a city woman escaping to nature, weather not withstanding, as the muse for the look. “It’s the girl who leaves town and doesn’t mind getting her hands dirty,” Rowe said. She created a smoky effect using Burberry’s Sable shadow and a flat brush between lashes. Mulberry and shimmery Midnight Brown were applied lightly around the lid and Gold Trench under the eye. Number 3 concealer was dotted on the inner corner of the eye socket and cheekbones were sculptured with Earthy blush. Lips were primed with foundation and then either Sepia Pink or Mocha Glow tapped on with a finger. “A dark sumptuous eye,” said Rowe of the overall effect, stressing it not be too heavy or perfect, lest it not feel modern. Moodie described hair as a three-day-old blow-dry with “dropped out” curls. He used Bumble and Bumble Prep Spray and Thickening Spray spread from the middle of wet hair, through the ends before diffusing for natural texture. A large-barrel curling iron was then applied randomly throughout the hair and Brilliantine applied to the mussed-up ends. </div>
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Katie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.com0tag:blogger.com,1999:blog-2460982036865107309.post-78501343122529768142012-11-06T03:00:00.000-08:002012-11-06T03:00:07.557-08:00Runway Makeup: Aquascutum Fall 2012<br />
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The influence for this makeup style came from Japan and was based on a provocative sexy kitten eye to create a "cute look".<br itxtnodeid="345" /><br itxtnodeid="344" />Makeup artist Lucia Pieroni used block eyeliner, rather than a flick with BlackTrack liner and False Lash Mascara.<br itxtnodeid="343" /><br itxtnodeid="342" />Next, she applied the Fall/Winter Lip Palette using colours French Nougat and Classic Nude on the lips and a touch of Strobe Cream was dabbed onto the skin to highlight.<br itxtnodeid="341" /><br itxtnodeid="340" />Lastly, SkinFinish was dusted all over the face for a touch of colour and brows were filled in with powder shadow using an angular brush. <br />
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Katie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.com0tag:blogger.com,1999:blog-2460982036865107309.post-120575978277943842012-11-06T01:30:00.000-08:002012-11-06T01:30:04.249-08:00Runway Makeup: Temperley London Fall 2012<br />
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Beauty at the Temperley show drew inspiration from Julie Christie's iconic look in "Doctor Zhivago." <br itxtnodeid="259" /><br itxtnodeid="258" />''It is a young, fresh and natural face with frostbitten, flushed cheeks,'' said makeup artist Val Garland. <br itxtnodeid="257" /><br itxtnodeid="256" />Garland evened out the skin with L'Oréal's Nude Magique BB Cream, before layering different shades of pink cream blushers on the cheeks. <br itxtnodeid="255" /><br itxtnodeid="254" />She painted lips with a matte, dusty pink shade. Eyes had curled lashes and a fine, almost invisible eyeliner.<br itxtnodeid="253" /><br itxtnodeid="252" />Telegraphing a Sixties mood, hairstylist Malcolm Edwards created a "quirky yet classy" chignon with lots of texture and a loose finish using L'Oréal's Texture Tonic and Sparkling Mist. </div>
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Katie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.com0tag:blogger.com,1999:blog-2460982036865107309.post-71838000816824974682012-11-06T00:30:00.000-08:002012-11-06T00:30:05.181-08:00Runway Makeup: J. Mendel Fall 2012<br />
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<strong>1. Prep Team</strong></div>
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<strong><br itxtnodeid="223" /></strong>Before models even got to the makeup chair, their faces were prepped with Dr. Jart Water Fuse BB cream. The three-in-one lotion triples as a moisturizer, serum, and sunscreen and was used to even out skin tone. "I like to call it AC for your face. It instantly cools and soothes," said makeup artist Joy Fennell. Even in the winter months, the potion's good for raw, wind-whipped skin, and she particularly likes recommending it to clients who suffer from rosacea. The biggest stamp of approval? The models raved about it before leaving her chair.<br itxtnodeid="221" /><b itxtharvested="0" itxtnodeid="220"><br itxtnodeid="229" />2. Born This Way</b><br itxtnodeid="219" /><br itxtnodeid="218" />"We wanted the girls to feel effortlessly cool—chic, but grunge. In my mind, I was thinking Charlize Theron, Kate Moss," said makeup artist Charlotte Tillbury for Maybelline. "It's like nature naturally blessed you with the perfect flush on the cheeks and lips, nice brows, and thick lashes." To fake flawlessness, Tillbury used Dream Nude Airfoam foundation and highlighter on the cheekbones, nose, and cupid's bow. For cheeks, she mixed two shades of the brand's Dream Bouncy blush: Coffee Cake as the base on the full cheekbone and Rose Petal on the apple "to give a bounce of color."<br itxtnodeid="217" /><b itxtharvested="0" itxtnodeid="216"><br itxtnodeid="230" />3. Easy on the Eyes</b><br itxtnodeid="215" /><br itxtnodeid="214" />Tillbury stuck with neutral colors for the eyes, mixing Color Tattoo shadow in Too Cool with moisturizer for subtle color. Then she used a pencil in brown all around the eye, smudged, and topped with a bit of Beige For Good lipstick for "a wet look" (a hint went under the eye, too). For the lips, she cocktailed two products already on the face: a dab of blush for color and a top of the lipstick to neutralize it slightly.<br itxtnodeid="213" /><br itxtnodeid="212" /><b itxtharvested="0" itxtnodeid="211">4. Contempo Casual</b><br itxtnodeid="210" /><br itxtnodeid="209" />"She's the contemporary woman of today," hairstylist Orlando Pita said, working on behalf of Phyto and T3. "The hair's a little waved and works both for day and evening." Hair was blown out with Phyto Professional Intense Volume Mousse and curled with T3's SinglePass Twirl iron. The loose ringlets turned into sexy, bouncy waves courtesy of Pita and team. They brushed them out and did some back-brushing for extra fluff.<br itxtnodeid="208" /><br itxtnodeid="207" /><b itxtharvested="0" itxtnodeid="206">5. Madame, Please</b><br itxtnodeid="205" /><br itxtnodeid="204" />The Haven Spa for Essie team was backstage giving the models the final lacquered touch: two coats of light pink Mademoiselle plus a fast-drying topcoat. "It's very, very simple," they explained. </div>
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Katie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.com0tag:blogger.com,1999:blog-2460982036865107309.post-89939096505168978762012-11-05T03:00:00.000-08:002012-11-05T03:00:01.711-08:00Runway Makeup: House of Holland Fall 2012<br />
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Lucia Pica took her inspiration just one step further comparing the House of Holland girl to "Mork and Mindy" meets the Tour de France in the 70s. With that in mind, she wanted to create slightly glowy skin so she used tinted moisturiser on the face which was also heavily concealed. She then applied a bit of Shine Mixing Medium to the face to give off a 'sweaty' effect. Then, she brushed brows with Mixing Medium Mascara and applied a cherry pencil to the lips before filling them in with the perfect red lipstick; a blend of Ruby Woo, Lady Danger and Russian Red! <br itxtnodeid="123" /><br itxtnodeid="122" />Next, Lucia applied mascara on the top lashes only. She then clumped the lashes together by using the top bit of the mascara wand adding a couple of layers until she was able to achieve the desired look. <br itxtnodeid="121" /><br itxtnodeid="120" />Nail guru Sophy Robson was on hand (har har) to create a customised houndstooth nail to match the main print in the collection. She created a black houndstooth overlay that she applied over either pink or denim blue Leighton Denny varnish. </div>
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Katie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.com0tag:blogger.com,1999:blog-2460982036865107309.post-81814037174578839202012-11-05T01:30:00.000-08:002012-11-05T01:30:04.659-08:00Runway Makeup: Jeremy Scott Fall 2012<br />
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<strong>Inspiration: </strong>Designer Jeremy Scott is known for creating some of the wildest runway looks each season, and this time around was no different. Models in technicolor outfits strut down the catwalks looking like Harajuku-girl cartoon characters. Scott was inspired by club kids at raves and the '90s computer age.<br itxtnodeid="77" /><br itxtnodeid="76" /><b itxtharvested="0" itxtnodeid="75">Makeup:</b> Kabuli for Mac Cosmetics created a "circuit board" of bindis across the models' foreheads, which he hand-crafted (all 456!) the night before. He adhered them with eyelash glue, and gave the girls shockingly bright blue lips (using Lipmixes and eye shadow). The flashing bulb in the center of each models' forehead was an internet score. According to Kabuli, the rest of the look (mascara with brown and gold eye shadow) is totally wearable and goes great will with a punchy-pink pout.<br itxtnodeid="74" /><b itxtharvested="0" itxtnodeid="73"><br itxtnodeid="83" />Hair:</b> Eugene Souleiman for Wella Professionals braided their hair into a center, mohawk-like cornrow and used hair extensions to build wigs onto their heads (it tools about 30 to 40 minutes per model!). This turned them into Avatars or sci-fi versions of themselves. If this seems too extreme for anyone besides Nicki Minaj, try colorful clip-in strands.<br itxtnodeid="72" /><b itxtharvested="0" itxtnodeid="71"><br itxtnodeid="84" />Nails: </b>Dashing Diva Design FX Bling strips with rainbow keyboard-shaped dots were applied to the model's nails. The adhesives can easily be peeled off with some cuticle oil. Fun fact: They were the same ones used in Katie Perry's iconic Smurf nail art tips. </div>
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Katie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.com0tag:blogger.com,1999:blog-2460982036865107309.post-86747090043500398062012-11-05T00:30:00.000-08:002012-11-05T00:30:05.757-08:00Runway Makeup: Theyskens' Theory Fall 2012<br />
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<strong>The Inspiration:</strong> "We're doing a T.T. girl, which stands for Theysken's Theory, of course, but is also a French term for a very Parisienne girl. She's gone to visit her grandmother for the weekend to take care of her, and she ends up taking some styling tips from her as well," explained MAC artist James Kaliardos. "It's a throwback look, like something her grandma would have done."<br itxtnodeid="34" /><br itxtnodeid="33" /><b itxtharvested="0" itxtnodeid="32">Makeup:</b> The look was light on color, with a powdered face and lots of neutral tones. MAC's lipstick in Classic Nude was used on the cheeks, and Hazy Lilac for the lips. For the eyes, Kaliardos used a beige shadow mixed with some flesh-toned blush and finished with Haute and Naughty mascara.<br itxtnodeid="31" /><br itxtnodeid="30" /><b itxtharvested="0" itxtnodeid="29">Hair:</b> Kérastase's Odile Gilbert was tasked with creating straight hair with a dryer, not a flat iron, in order to keep the look more real. "We did a light wave for his show last spring, and we wanted the same spirit, but in winter, you want you hair straight rather than curvy," said Gilbert, who did an imperfect middle-part to show off that real girl look. "You have your coat and your jacket, so if you have all that volume plus volume in your hair..." No good! And if you're a thick-haired girl with hair to spare? Gilbert and team took care of extra oomph by braiding the underlayer of hair, hidden from the eye but perfect for making hair look thinner.<br itxtnodeid="28" /><br itxtnodeid="27" /><b itxtharvested="0" itxtnodeid="26">Nails:</b> All models got a mani with CND's neutral, light pink shade, Marshmallow Rose. Makeup pro Jin Soon explained the color choice: "There's a lot of color in his clothing, so we decided to use a very clean, soft pink that goes with everything." </div>
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Katie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.com0tag:blogger.com,1999:blog-2460982036865107309.post-62117371982772260552012-11-04T02:30:00.000-08:002012-11-04T02:30:02.518-08:00Runway Makeup: Proenza Schouler Fall 2012<br />
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“Last season, she was more sophisticated, more lady,” Diane Kendal said of the Proenza Schouler girl. “She’s gone back to very cool.” This meant brown grease paint — M.A.C.’s Richly Honed Sculpting Cream — around the eyes; moist, dewy skin; and only a touch of lip balm. “Not really a look,” was how Paul Hanlon described the hair in comparison to spring’s more sculptured style. “It’s about the confidence of not having to do anything.” To achieve this effect, Hanlon shampooed with Frederic Fekkai Apple Cider Clarifying Shampoo before blowing hair dry. For those with thicker locks, he braided a layer against the head before twisting the rest with his hands and setting the ends with Fekkai Ultra Light Finishing Creme. He wanted to let the girls’ personalities come through, let their hair relax after a long week. He chalked up the success of the concept to the designers Jack McCollough and Lazaro Hernandez’s stellar casting. Like Kendal, he felt the boys were “bringing it back to what they’re all about.” </div>
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Katie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.com0tag:blogger.com,1999:blog-2460982036865107309.post-60632958423355232132012-11-04T01:30:00.000-07:002012-11-04T01:30:00.893-07:00Runway Makeup: Thakoon Fall 2012<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
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“I was really nostalgic for old, elegant New York. I just wanted to feel dressed up again,” Thakoon Panichgul said last weekend, explaining his Fall collection inspiration to his go-to glam squad of hairstylist Odile Gilbert and makeup artist Diane Kendal as the group met up for the first time to discuss the beauty look for the season. And with that, each woman set to work turning his vision into reality, readying a few different hair and makeup options to try with the clothes. Gilbert went with “a modern, destroyed chignon,” treating hair with Kérastase Mousse Substantive and Double Force Hairspray to give it guts, before forming a top and bottom section. Creating a ponytail with the top half, she flipped the lengths over themselves and secured them, fashioning a short bang “as an homage to Audrey Hepburn.” Back-combing the bottom section, she made a twist that she then broke apart with her fingers, ensuring that the sides were very flat and the back was slightly disheveled. For her part, Kendal chose to zero in on the idea of a strong mouth that was “lady but eccentric.” Cue NARS Lipstick in Heatwave, a bright orange-red pigment that she topped with an electric pink powder to amp up the color and “make it more modern” with a matte finish. Needless to say, it was an easy sell. Panichgul greenlighted both looks, which made their way down the runway last night. </div>
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Katie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.com0tag:blogger.com,1999:blog-2460982036865107309.post-61265864739177224072012-11-04T00:30:00.000-07:002012-11-04T00:30:03.768-07:00Runway Makeup: Rodarte Fall 2012<br />
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Before setting up his station with bottles of NARS Sheer Glow Foundation and a multitude of its bronzer and blush compacts backstage at Rodarte, James Kaliardos broke out the skincare. “Everyone’s skin is just disastrous right now,” the face painter proclaimed, soaking cotton pads with NARS’ new Makeup Cleansing Water and then slathering on “pretty much everything” from the brand’s skincare line to remedy models’ dry complexions—the unhappy result of four full days of shows. Once Kaliardos did start in with the makeup, though, there was no stopping him.<br itxtnodeid="454" /><br itxtnodeid="453" />“These girls are in the Australian Outback and they’ve been caught in a dust storm,” he said, explaining Laura and Kate Mulleavy’s inspiration for their Fall collection, which manifested itself as a blend of bronze and pink pigments that Kaliardos applied with a heavy hand onto cheeks and lids. “I didn’t want it to be all bronzer and J. Lo,” he insisted; instead, the makeup artist opted for “Faye Dunaway cheeks,” which he sculpted by brushing on layer after layer of NARS Bronzer in Laguna. The shimmering insta-tan also made an appearance on lids, where it was brushed through the brows in the shape of an “arc.” Next Kaliardos dusted NARS Blush in Gaiety, a pure pink, from the crease toward the outer corners of eyes and then dotted its Blush in Madly onto the apples of cheeks, “geisha-style.” To open the eyes a bit, he pressed the white shade from NARS’ Eyeshadow Duo in Vent Glace into the inner corners. Lips were painted an opaque pink with its Velvet Matte Lip Pencil in Bolero. If the makeup looked heavy, that was intentional. “More!” Kaliardos instructed his team. “Stronger!”<br itxtnodeid="452" /><br itxtnodeid="451" />Hairstylist Odile Gilbert worked off a similar directive, re-creating a down under dust storm effect by varying the texture in her side-parted faux bobs. Prepping hair with Kérastase Mousse Volumactive, Gilbert created a shorter, curly side of the style, which she adorned with a series of gold pins, some of which had stars on them, and a longer, smoother side that went sans accessories. So how did Gilbert determine which girls got gold stars? “They decided,” she said of the designers. “They decide everything. They know what they want.” </div>
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Katie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.com0tag:blogger.com,1999:blog-2460982036865107309.post-48805916220362130862012-11-03T02:30:00.000-07:002012-11-03T02:30:02.952-07:00Runway Makeup: Derek Lam Fall 2012<br />
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“She’s a little naughty—she likes to break the rules a bit,” coiffing star Orlando Pita said backstage at Derek Lam of the designer’s sixties-era, college coed muse. What kind of rules does she like to break? The decade’s rigid coiffing norms, for starters. “It’s a little bouffant, but not perfectly done,” Pita explained of the high hair, which he slathered with Phyto Professional Intense Volume Mousse and spritzed with its Workable Holding Spray before blowing dry, back-combing, and crafting two different variations on the style, including a faux bob and a low, messy ponytail. “There’s no uniformity,” Pita reaffirmed.<br itxtnodeid="411" /><br itxtnodeid="410" />“She has a twisted mind,” Estée Lauder creative makeup director Tom Pecheux said, adding to the character profile. Like Pita, Pecheux chose to keep things almost perfect—creating a flawless base with Lauder’s forthcoming Invisible Fluid Makeup and carving out an “oval” eye using the burgundy and black shades from its new-for-fall, limited-edition Pure Color Eye Shadow Palette, which he emphasized with black mascara on the top lashes and brown on the bottom using his brand-new, dual-ended Sumptuous Two Tone Eye-Opening Mascara. Cheeks were given a pretty wash of rosy-beige pigment with a mix of Estée Lauder’s Pure Color Blush in Alluring Rose and Brazen Bronze, which was dusted below the apples of the cheeks, rather than on top, to slightly contour and prevent a feeling that was “too teen,” according to Pecheux. Lips were painted a similar shade using a blend of its Pure Color Crystal Lipstick in Crystal Pink and its Pure Color Long Lasting Lipstick in Vanilla Truffle that Pecheux matted down—as he’s been wont to do this week—with a finger patting of white powder. But there was one slightly “off” element that helped convey the bad-girl directive Lam had given his glam squad: Pecheux drew lashes onto the skin below the lower eyelid so that the models looked like dolls—”twisted dolls,” he asserted. </div>
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Katie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.com0tag:blogger.com,1999:blog-2460982036865107309.post-32299625339417466872012-11-03T01:30:00.000-07:002012-11-03T01:30:01.837-07:00Runway Makeup: Jason Wu Fall 2012<br />
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<strong>The Inspiration:</strong> The Ming Dynasty meets 1940s Hollywood<br itxtnodeid="381" /><br itxtnodeid="380" /><b itxtharvested="0" itxtnodeid="379">Hair:</b> Kerastase Paris stylist Odile Gilbert created a warrior ponytail that channeled "Tomb Raider's" Lara Croft. She prepped the models' hair with Fibre Architecte to smooth ends and boost shine. She then flat-ironed before gathering into a sleek, high ponytail. Extensions were added and the ends bluntly cut. For a surprising twist, she wrapped electrical tape around the holder. Gilbert finished with a blast of Double Force Controle Ultime Hairspray.<br itxtnodeid="378" /><br itxtnodeid="377" /><b itxtharvested="0" itxtnodeid="376">Makeup:</b> "Jason Wu's fall collection is very rich and opulent so he wanted to reflect that in the face," said MAC Cosmetics lead artist Diane Kendal. Inspired by the collection's military touches, Kendal drew on a very defined eye using an emerald shadow that extended out in a shape she described as "Hollywood." Blush shades in Sculpt and Tenderling were applied to give cheeks a warm glow. Kendal slicked on black liner closely to the lids and then applied mascara. Brows were filled in heavily, while the lips were left bare.<br itxtnodeid="375" /><b itxtharvested="0" itxtnodeid="374"><br itxtnodeid="383" />Nails:</b> OPI manicurists carried out Wu's vision for an opaque nude effect by painting on Santan-tonio (a creamy mocha), followed by a clear top coat. </div>
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Katie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.com0tag:blogger.com,1999:blog-2460982036865107309.post-8557995908636724402012-11-03T00:30:00.000-07:002012-11-03T00:30:04.403-07:00Runway Makeup: Carolina Herrera Fall 2012<br />
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“She wanted big hair, big hair,” Orlando Pita said yesterday, recounting Carolina Herrera’s specific directive about the beauty look for her Fall show. Like a good collaborator, Pita obliged her, giving her the biggest hair we’ve seen this week. To build the foundation inside the style as well as maintain the voluminous shape, Pita spritzed models’ strands with copious amounts of Moroccanoil Luminous Hairspray Strong, back-combing as he went to achieve height. “It’s nice to do something different—to break the mold,” Pita continued, throwing out words like “graphic” and “bold” to describe the mass of hair that was contained around the hair line by a simple piece of black elastic and occasionally tied at the bottom with a bow.<br itxtnodeid="332" /><br itxtnodeid="331" />Because the hair statement was so, er, big, makeup artist Diane Kendal kept the face intentionally “fresh and bare.” Using MAC’s Mineralize skincare, she applied a light layer of its Face and Body Foundation before she carved out cheeks with MAC Sculpting Powder in Sculpt, adding a touch of its Blush in Tenderling on the apples for a hint of warmth. Filling in brows, Kendal skipped mascara—something she’s made a habit of for Fall—and colored in mouths with MAC Lip Liner in Spice, which she topped with a clear balm to emulsify the matte pigment ever so slightly. </div>
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Katie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.com0tag:blogger.com,1999:blog-2460982036865107309.post-59921268325932585582012-11-02T07:01:00.001-07:002012-11-02T07:01:39.224-07:00Runway Makeup: Rag & Bone Fall 2012<br />
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“When you have a brand with a signature feeling, you kind of just go with it,” Redken creative consultant Guido Palau said backstage at Rag & Bone, referencing designers David Neville and Marcus Wainwright’s signature style. And so, as she has in nearly every season past, the downtown cool girl reared her languid, texturized head of hair yet again. There were “Patti Smith goes to India” references being bandied about as well, but not in any kind of literal way. “She’s a traveler but she’s still rock ‘n’ roll,” Palau clarified, explaining why strands were a little bit more “dread-y” than usual thanks to Redken’s Full Frame 07 Protective Volumizing Mousse, which was slathered onto wet strands. Palau then added its Rough Paste 12 Working Material paste once the hair was dry. “It defines the texture,” he said of the sculpting product, as he set hair in twists to allow for movement.<br itxtnodeid="305" /><br itxtnodeid="304" />The India component was actually Revlon artistic director Gucci Westman’s idea. “The boys were inspired by the jump in severe poverty and wealth [there],” Westman explained, which led her directly to that classic Indian beauty staple enjoyed by women of all income brackets: kohl eye liner. “I used three different eyeliners—a gel, a kohl pencil, and a liquid,” Westman said of her application technique, which relied heavily on Revlon Crème Gel Liner in Black, its Luxurious Color Eye Liner in Black, and its Liquid Liner in Blackest Black. For a slight change of pace, the face painter opted to trace the lower lid only, smudging as she went so it looked rough, “like decay.” Skin was kept “porcelain-y” thanks to a precise layering effort of a blend of skin correctors and luminizers, including the highlighter from Westman’s limited-edition shadow palette for fall in Midnight Express. To ensure that the effect was “pure and angelic,” she misted models with water as they hit the runway for an instant dewy look.</div>
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Katie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.com0tag:blogger.com,1999:blog-2460982036865107309.post-48397810308920920432012-11-02T06:56:00.001-07:002012-11-02T06:56:07.711-07:00Runway Makeup: Marc Jacobs Fall 2012<br />
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The backstage scene at Marc Jacobs can get so harried, the designer instituted a new system a few seasons ago: If you don’t show up four hours before the show’s 8 p.m. start time, don’t bother showing up at all. Last season, he canceled backstage access entirely. But running a tight ship means that things now run particularly smoothly—especially when the highly anticipated New York event’s beauty look is relatively minimal. “I’m in a supporting role today,” said Redken creative consultant Guido Palau, who was charged with setting the hair so that it sat well underneath Jacobs’ bevy of towering, colored mink hats. Following Jacobs’ “get rid of it” directive, Palau created center-parted pigtail braids, which he wrapped into knots before using his fingers to jostle a “mist of hair” that “floated” over the front of the face. “Marc likes a total look even if you don’t see it,” he pointed out.<br itxtnodeid="276" /><br itxtnodeid="275" />Since Jacobs’ wide-brim chapeaus covered a good quarter of models’ faces, makeup maestro François Nars’ job was similarly subdued. “The hats are very overpowering,” Nars admitted, although that didn’t deter him from inserting his own bit of “romance with a touch of decadence.” Referencing the 1920’s and Marchesa Luisa Casati, the face painter mixed the black shade from his Eyeshadow Duo in Panda with his Eyeshadow in Bali to create a smoky “round” eye that he described as “really dreamy but sad, in a way.” Skin was left purposefully bare—”no blush, no lip, just pale and very dewy,” said Nars, who added a strong eyebrow and an even stronger lower lid, which he rimmed with his Eyeliner in Black Moon. “I’m using lots of mascara,” he added, focusing on the lower lash line—a detail that was just barely visible beneath the headgear that Lindsey, Alana, Frida, and co. donned on the runway. At a Marc Jacobs show, every little detail counts. </div>
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Katie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.com0tag:blogger.com,1999:blog-2460982036865107309.post-45147106770551736682012-11-02T00:30:00.000-07:002012-11-02T00:30:04.327-07:00Runway Makeup: Michael Kors Fall 2012<br />
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A “classic, sportif” look with flushed cheeks and bright lips was created by Dick Page, Shiseido Artistic Director, for Michael Kors A/W 2012 collection.<br itxtnodeid="224" /><br itxtnodeid="223" />“The connotation of sportif in Europe is energetic and the look is all about the woman who’s living this life, who’s very chic and made of money.”<br itxtnodeid="222" /><br itxtnodeid="221" /><b itxtharvested="0" itxtnodeid="220">Face</b><br itxtnodeid="219" />The Michael Kors face featured a “bloody, wonky flush”. Dick started this look with a clean, well-moisturized base and applied a wash of Radiant Lifting Foundation (launching Fall 2012) to remove any redness or imperfections.<br itxtnodeid="218" /><br itxtnodeid="217" />To create a chevron-shaped flush on cheeks, Dick blended Lacquer Rouge in Drama (RD501), a lipstick with concentrated color, onto the apple of the cheek, along with a dab of foundation using a damp Foundation Sponge Puff.<br itxtnodeid="216" /><b itxtharvested="0" itxtnodeid="215"><br itxtnodeid="225" />Eyes</b><br itxtnodeid="214" />The eyes were given a “transparent, easy, flexible” treatment that resulted in a “very chic,” shimmery, wearable look for day or night.<br itxtnodeid="213" /><br itxtnodeid="212" />To create weight in the brow, Dick mixed a blend customized to each model’s natural brow color using Shimmering Cream Eye Color in Sable (BR709), Meadow (BE204), Caviar (BK912), and Leather (BR306). Using a shadow fluff brush, Dick blended Luminizing Satin Face Color Soft Beam Gold (BE206) and High Beam White (WT905) and applied the color to the inner corner of the eye, blending out over the entire lid. (Tip: when mixing color, use a bit more of the High Beam White shade to keep the blend bright.) He then curled the lashes to give them a soft, natural bend, walking the curler up the lashes to avoid a “crimped” look, and finished with Perfect Mascara Full Definition in Black (BK901) on just the upper lashes.<br itxtnodeid="211" /><br itxtnodeid="210" /><b itxtharvested="0" itxtnodeid="209">Lips</b><br itxtnodeid="208" />Red lips on the Michael Kors runway felt very “winter,” emulating “après ski and sex” — an approach fitting for the confident Kors woman.<br itxtnodeid="207" /><br itxtnodeid="206" />Dick first took down the natural lip color using a bit of foundation. Then he applied Lacquer Rouge in Drama (RD501) to the entire lip in a defined, precise manner. He blotted with tissue and reapplied three times in order to set the color. </div>
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“It’s more like après-sex,” Shiseido artistic director Dick Page interjected, using the brand’s forthcoming Lacquer Rouge in Drama, a deep crimson, to coat lips and blend a creamy flush from the apples of models’ cheeks all the way down to the jaw, “the way you’d get if you were cold, or hot, or excited,” Page explained. Shiseido’s Luminizing Satin Face Color in Soft Beam Gold and High Beam White dusted along lids and cheekbones added a transparent glow. “Blush makes everyone look better,” the face painter surmised. “It’s a very simple way to look and feel glamorous.” </div>
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Katie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.com0tag:blogger.com,1999:blog-2460982036865107309.post-80224670386335491492012-11-01T15:26:00.000-07:002012-11-02T06:46:29.593-07:00Runway Makeup: Preen Fall 2012<br />
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The Vibe: Outdoorsy and very fresh. The models’ hair certainly looked very weathered with Aveda lead stylist Paul Hanlon creating coifs that he described as “aerodynamic” and “windblown.” To achieve these wild styles, hair was parted down the back of the head and then tied it into either one or two knots, depending on the length of the girl’s hair. Stylists added pins to keep the style secure, while loose ends and other errant hairs were blow-dried and sprayed pointing stick-straight back. To help get a matte, piece-y texture, Hanlon used two Aveda products: Phomollient, a weightless volumizing styling foam, and Pure Abundance Hair Potion, a hair-thickening cream that adds grit.<br />
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The makeup also portrayed a very active woman. “It’s a sporty kind of girl who has her blood flowing,” Gucci Westman, for Revlon, said. “She’s modern and athletic, and has good taste in clothes.” To create healthy, rosy cheeks, Westman used PhotoReady Cream Blush in Flushed (available May). For lips, it was a trio of products: Just Kissable lip crayons in Crush and Adore (both also available May) and Super Lustrous Lipstick in Mink. But the biggest statement was reserved for the brows. “The brow is a bit stronger,” said Westman as she shaded in a model’s arches using Brow Fantasty. As for the age-old pencil vs powder question, Westman has a simple response: “It varies depending on the girl’s eyebrows. When they’re more sparse, I like to use a pencil because then I can fake hairs.”</div>
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<br />Katie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.com0tag:blogger.com,1999:blog-2460982036865107309.post-78737081480747835502012-11-01T15:14:00.000-07:002012-11-01T15:14:24.428-07:00Runway Makeup: 3.1 Phillip Lim Fall 2012<br />
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There’s detail oriented, and then there’s Phillip Lim. “I’m really hands-on,” Lim admitted last weekend when he summoned longtime collaborators, Nars brand ambassador Francelle Daly and hair stylist Odile Gilbert to his studio to talk beauty for his Fall collection. The meeting of the minds was truly something to behold: Lim took Daly and Gilbert through his designs piece by piece, shared his “neo-noir” inspiration with them presenting a Roy Lichtenstein photo as a starting off point for the makeup, and then sent them on their way to “search for magic,” as Gilbert eloquently put it. And the magic came…slowly. At fist, there was too much red in the “superhero” eyes Daly drew onto lids using NARS Lip Liner in Jungle Red and its Eyeliner Stylo in Nuits Blanches, which she dotted with a “special effect” in the form of its Triple X Gloss for an illustration-caliber shine. And the hair? Well, the hair vacillated between too soft and too sleek, until Lim actually took out a pen and a marker and drew the shape he was after. “I don’t speak the language [of beauty] so sometimes the only way to get there is to paint a picture,” he explained. When everything was said and done, Daly had used almost an entire tube of NARS Larger Than Life Volumizing Mascara, which she had slicked onto custom-cut fake lashes, and Gilbert won Lim over with a texturized updo that she prepped with Kérastase Mousse Substantive and then fashioned into a curled under faux bob on one side with a long, straight section hanging down in the back—for the short term at least. When we arrived backstage at Lim’s show yesterday, he asked her to change the look one last time. “I had to do all 42 girls, in 45 minutes,” Gilbert exclaimed after the presentation. Magic, indeed. Above, watch the process unfold in real time. </div>
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Katie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.com0tag:blogger.com,1999:blog-2460982036865107309.post-28221457743433451272012-11-01T12:47:00.000-07:002012-11-01T12:47:06.991-07:00Runway Makeup: Prabal Gurung Fall 2012
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“The casting’s really considered, so I thought the hair should be, too,” hairstylist Paul Hanlon said backstage at Prabal Gurung yesterday, where the designer’s “uncursed”-themed show, which explored the ideas of heaven and hell through periods of black, then blue, then gold and white, necessitated a similarly linear coif. “The girls at the beginning have dark, dark hair but towards the end of the show, it’s almost white blond,” Hanlon explained, prepping strands with Tigi Catwalk Curl Collection Curlesque Strong Mousse, blowing them dry, then adding a hit of its Your Highness Weightless Shine Spray, section by section, for a high-gloss finish. “It’s like Sissy Spacek—flat, narrow hair that’s very pure,” he added, fashioning middle parts that kept the hair deliberately graphic so that it didn’t conflict with the embellishments in Gurung’s clothes.<br itxtnodeid="40" /><br itxtnodeid="39" />While Hanlon took the designer’s other influence, the Japanese blue rose, as a green light to mimic Asian hair—”it’s very straight; there’s no movement”—makeup artist Charlotte Tilbury chose a much more literal translation of the prized bloom, playing with turquoise, teal, and cobalt shadows and liners for what she deemed a “hypnotic” eye. “There’s always a story here,” Tilbury said, referencing last season’s “intoxicating” tri-colored lips before throwing out Fall’s makeup references, which included Avatar and scarab beetles. Prepping skin with MAC Face and Body Foundation for an “innocent, fresh” finish, Tilbury used blue and green shades from its forthcoming eye shadow palette in Delft, as well as its Pigment in Blue Brown and its Eyeshadow in Fresh Water, to create a wash of iridescent color. MAC Technakohl Liner in Smoothblue was used to rim both the upper and lower lashline. “There’s a dual tonality,” Tilbury said of the corresponsing flashes of aquamarine and teal, which she described as “precise but very raw” (while examining her team’s handiwork, the flame-haired face painter would proclaim, “more like the feather of a bird of paradise” if she felt the pigment had been applied too angularly). “I don’t want to see a mess—it’s still beauty,” she chirped.<br itxtnodeid="38" /><br itxtnodeid="37" />The same blue was echoed in the nails in the form of Blue Rose, one of four new polishes in Prabal Gurung’s continuing collaboration with Sally Hansen. Manicurist Jin Soon coordinated the steely shade with Onyx, a black she gave to the show’s first group of models, and Gilded Lily, a dense gold she applied to its final group, who wore the celestial gowns at the end of Gurung’s show. Ivory Skull, the fourth varnish in the collection, will also be available when the range hits stores in October. </div>
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Katie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.com0tag:blogger.com,1999:blog-2460982036865107309.post-86856599346450398682012-10-23T09:21:00.000-07:002012-10-23T09:21:00.289-07:00Runway Makeup: Erin By Erin Fetherston Spring 2013<br />
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A hybrid of sweetness and naughtiness was the description MAC Cosmetics’ lead
makeup artist Lyne Desnoyers used to describe the look for Erin Fetherston. “The
very first images that Erin gave me were of the photographer Ellen von Unwerth,”
said Desnoyers, “as well as this very beautiful neo-Sixties eyeliner that she
had in mind.” To complement the inspiration, Desnoyers created a fresh palette
with creamy highlights. She created a custom color for the lips and cheeks,
mixing the brightest orange with the most subtle.<br itxtnodeid="39" /><br itxtnodeid="38" />Hair, by Odile Gilbert for Kérastase, was fashioned around a
headband. Gilbert created a messy wave using Kérastase mousse and hair spray to
give it texture.<br itxtnodeid="37" /><br itxtnodeid="36" />Katie Hughes for Butter
London finished off the nails with a metallic shade called Lillibit Jubilee.
“[Erin Fetherston] wanted the nails to appear like an accessory,” said Hughes,
“wanting the nails to be a part of the outfit.” </div>
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Katie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.com0tag:blogger.com,1999:blog-2460982036865107309.post-52482238841277630472012-10-23T04:00:00.000-07:002012-10-23T04:00:04.952-07:00How to Do Fake Freckles at Home<br />
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For most fashion
week beauty trends, it's just a matter of buying a new lipstick or flicking
out your liner but this season there's one trend that requires a bit more
patience and a bit of skill. Fake freckles have been popping up on the runways
and in editorials for the past few seasons but this season everyone from Rag
& Bone to Antonio
Berardi was penciling on subtle freckles for a fresh, daytime look.</div>
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There are a few ways to get fake freckles at home. The most difficult is using a
self-tanner. If you're already a regular user of self-tanner and feel confident,
try using a very small brush to apply a layer of freckles on your already tanned
face. As you can imagine, this method has a huge margin for error and the tone
of the product also comes into play.
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The best and easiest way to get fake freckles is by using an eyeliner or
eyebrow pencil. One benefit of using a brow pencil is that they are often more
ashy tones rather than red based browns. You want your freckles to look as
natural as possible so opt for two shades that you can layer for a plausible
face of freckles. First, take a taupe pencil and dot around the center of your
face. It's important to remember that natural freckles aren't even and the
quickest way to draw attention to your fake freckles is by accidentally making
them perfectly spaced and symmetrical. Next, take a darker ash brown and apply a
second layer. At this point, the freckles will still look very obvious so you
have to soften them up. Either pat the area with your fingertips until the spots
are softened or take a clean eyeshadow blending brush and buff over the spots.
Finish with a setting spray or powder for a lasting finish. </div>
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Katie Annabethhttp://www.blogger.com/profile/08623023041253406783noreply@blogger.com0