Update your smoky, domesticate the eyeliner, dare with the frosted and deny the red. The holiday season is just around the corner and your makeup has to live up to it.
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You can always turn a classic around. The writers of Antiquity did it with the great archetypes and Instagram repeats it with the great beauty paradigm of the look, the ubiquitous smoky. Either by transposing the color palette to turn red where black used to send or raising the bet to infinity with glitter and chrome debauchery. The strength of this smoked man who looks at us from the next page lies in the opposite: in the conscious intensity of his darkness and his subtle escape from the chromatic excesses.
The make – up artist Ivan Gomez, a spokesman for Chanel and architect of the most envied looks and Ursula Maria Pedraza Corberó, explains how this is achieved. “I like to start by creating a color base with black kohl, using pencil points that I then blur with my finger. From there, I work over the darkest shadow. And I do it following the line of the eyelashes, through touches with the applicator. In the transition zone with the fixed eyelid, I apply a less dark brown that melts with the skin. ” The line under the eyebrows releases it with the touch of light that provides an ivory shadow, “which works as an illuminator if applied to the bone and tear,” he concludes.
“The eyebrow always starts working by the tail.” It is the great contribution of Mark Regan, makeup artist of Hourglass. And it has more aces in the sleeve: “To fill with precision, draw fine strokes in the opposite direction to the birth of the hair, with short lines and without pressing, which are barely perceived on the skin.” So you can step up if you need it or correct without problems.
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The starting point is inevitably retro, although passed by the distinctive artistic filter Peter Philips, director of Creation and Image of the makeup of Dior. It was he who uploaded this look to the catwalk in February, as a tribute to the extreme graphics of English teddy girls, those women who paved the way to the urban fashion avant-garde in the late 50s.
And it fits perfectly to the face of the ancient structure of British actress Lucy Boynton, who appropriated him this fall for the red carpet. “Short, straight and spaced, the black strokes are drawn under the lower eyeliner with eyeliner to create a star effect on the look. To underline it, the upper eyelashes are prepared first, curled and then two layers of mask are applied”, explains Philips. The eyebrows, combed up, give one more point of dissent. The skin, perfected and snowy, slightly elevates the tone on the cheeks with dyes or cream blushes. With them, the blush seems to be born from the inside.
The brightness alone is not enough. Without the frost effect that tiny glitter particles bring, you miss the funniest makeup of this season. And also the three-dimensional volume that these gels and oils (which replicate the crashed ice fractals) bring to the lips. But the frosted has its own rules. Use it in its transparent version or in an almost white dancer pink, to balance a look that is too focused on the look. It incorporates color without repairs if the skin goes to the minimum. But don’t go over with the illuminator or you’ll end up like a disco ball.
Red is a tough competitor this winter. A decline of the icing and the raspberry impregnated with blue sub-tones that, in its most intensified and matte version, brings power, uniqueness, and distinction. The clear skins dress better, it is challenging in the brunettes, but (sorry) it ends up being folkloric in the latrines.
Lisa Eldridge, creative director of Makeup of Lancôme, explains how to create an extra volume with the most velvet mates and a fuchsia game: “Apply the darkest with your fingers over the entire lip using touches for a natural dye effect and define with the commissures. With the clearing, it reinforces the central zone and the arch of Cupid.