A Game of Cluedo
A Game of Cluedo, Tatler Magazine
Tuesday 1 April 2014
The Sour Cherry Gel Mask Is BACK!!
By Alexia Inge in Beauty News
We all know the heartache that the disappearance of a much loved beauty product brings… 2 years ago the UK distributor of cult Hungarian natural skin care range, Ilcsi, suddenly disappeared off the face of the earth. I was inconsolable, with no warning I hadn’t even stocked up!
Ilcsi’s Sour Cherry & Blackthorn Gel Mask looks and smells like jam, when you apply it you resemble an extra from ‘The Day of the Dead’, it’s a highly amusing tool with which to scare boyfriends/flatmates/bailiffs out of their wits…
Ilcsi Sour Cherry Gel Mask
But the main reason I love it is it completely de-puffs and taught-ens ones face. It can even be used on eye-bags to make them disappear in 10 minutes (if your eyes aren’t too sensitive). The natural pectins, flavinoids, fruit acids of the cherry tightens pores, resurfaces and tones one’s face; while the Blackthorn – rich in iron – binds oxygen, improves circulation and collagen regeneration.
We first discovered the de-puffing excellence of this product early on in Cult Beauty’s history when we were still working out of Jess’ second bedroom and she accidentally poisoned her husband with fish. Here’s his review:
“First of all I want to say I don’t usually use stuff like this. However after suffering an allergic reaction and spending 6 hours in casualty with a severely swollen face (especially around the eyes) I was discharged, but still with the horrific swelling. 12 hours later having taken countless anti-histamines I was still in the swollen / not for public outings bracket. At this point I reluctantly – after persuasion of the ‘what’s the worst that can happen’ type from the wife – smeared myself in this cherry jam stuff. Now forIlcsi the next 15 minutes I looked even worse… however after I washed it off my face was unbelievably far less swollen and I could leave the house without a bag on my head.”
“Aunt Ilcsi” is a Hungarian institution, known all over the country for her beautiful skin care range and sound, no-nonsense advice on TV. Everything in the range is immaculate, but the Sour Cherry Gel Mask will always sit in my top ten EVER list.
Wednesday 23 May 2012
Ellis Faas Milky Eyes cream eyeshadow
James Read's tips for the perfect fake tan
James Read’s Tips for the Perfect Fake Tan
Cult Beauty expert & A-list tanning artist James Read knows a thing or two about the art of applying fake tan. This is the man who’s sprayed everyone from GaGa to Mariah (and lived to tell the tale) and here he reveals his top tips for getting your at-home fake tan spot on and streak free…
Products
“When using self tan at home you want to use the right product for your ‘Tantone’ (skin tone); if you use a product that is too dark for you then your tan will look unnatural. test the product on an area on the body that is not on show first to see if they match.
Light Tantone: Go for a gradual tanner or mix self tan with your body moisturiser.
Medium Tantone: Go for a mousse, foam or spray-based product.
Dark Tantone: Go for a lotion tan as these are the darkest.
Layering: Layer your tan up in fine layers, mousses and foams work well for this, this will make your tan last longer and also fade more evenly. You want to treat your application like a real tan. With a real tan your tan builds up, it does not go straight to a dark colour.
Mitt Application: For the perfect application apply your liquid tan, mousse, lotion or gradual tan with a mitt. Sweep your mitt up your skin in big strokes, try and keep each sweep in the same direction and don’t over-rub or the final result will be uneven.
The Flicker: This is similar to the layering technique but this is finer and will stop full down onto the feet. Spray on your body using flickering motions, doing half circles onto your body.
By Hand: Applying your tan by hand can sometimes be the best way to apply self tan as it allows you to really work the product into your skin. But make sure you wash your hands after application and then tan the outer parts of your hands by rubbing them together. Make sure when you are using Latex gloves that you don’t over rub product and also apply with your palms and fingers together. If your hands are all over the place this will cause streaks on your skin.
Sprays: Make sure you cover your feet with a towel otherwise the excess spray taken from covering your body will layer and over-tan them, NOT a good look. Don’t spray too close to your body and make sure you hold the bottle at the same distance all over, this will stop your tan being uneven. Some tans can leak around the nozzle, wash hands after just in case, you don’t want ‘smoker’s fingers’!
Mousse/Lotion/Liquid/Gel: When using these products use a sweeping motion, making sure you are not over rubbing, which will cause your tan to be too dark. After applying a lotion, leave for 45mins and then using a cotton mitt or flannel buff over your body, this will help achieve a more natural, even-looking tan.
Hands: Always apply your tan last to your hands. Do not apply product directly onto your hands, just work the excess down from your arms. It’s really important after applying your self tan that you don’t wash your hands for at least 8 hours, this will stop you getting white hands and brown arms. Make sure your palms are cleaned with a wipe or flannel after tanning.
After you have applied self tan to your hands, rub a small amount of moisturiser on the sides of the hands and in between the fingers – remember these areas don’t tan in the real sun. After applying self tan, use a wipe to clean around the wrist area, then rub a small amount of moisturiser on each wrist and buff with a mitt, to get a natural fade down.
Feet: Work your product directly from your legs onto your feet and ankles, don’t apply directly onto the feet. Rub moisturiser in between the toes and a small amount at the sides of the feet, then using a mitt buff around the feet and ankles to make sure it’s even.
Face: When applying self tan to your face, apply a small amount of moisturiser first, to make sure your tan looks natural. Your face is one of the first places on the body to fade first, so mix a small amount of self tan in with your moisturiser and apply to the face, this will lift your tan on your face and make sure it matches the rest of your body. Remember to rub moisturiser into your hair line after the product is applied, this will stop you getting the tell tale self tan line.
Back: The back is one of the hardest places to get right as its hard to do yourself. Apply product onto some clingfilm and then rub over your back. You can also go for a spray that sprays at 360 degree angle, this will allow you to get to hard to reach areas or get your partner involved!
Golden Rules and Top Tips
1. Wax 48 and shave 24 hours before tanning, exfoliate 24 hours before to remove any dead skin and unwanted self tan.
2. Rub an ice cube over your face before you apply your self tan, this will stop your pores from blocking.
3. Before you apply your tan, rub a wet wipe over your neck, armpits, wrists and ankles – this will get rid of any excess.
4. Moisturise your hands, feet, elbows, knees and any dry areas on the body.
5. Exfoliate 3 days after tanning, so your tan fades evenly, the Kai Body Buffer Sponges are perfect for this).
6. Moisturise daily to prolong your self tan, using a thick moisturiser (James rates bliss Lemon and Sage Body Butter)
7. To stop sweating removing your tan, rub bronzing mineral powder under your armpits, breasts and backs of legs.
8. If you get your body wet and your tan runs, apply a small amount of self tan onto a mitt and rub over the area to blend in.
9. It’s generally recommend that you leave your tan on for 8 hours but for best results use overnight.
10. Cover toenails with an all-purpose balm like Egyptian Magic or Pommade Divine to stop them being discoloured by the self tan.
Wednesday 28 September 2011
The Sexiest Make Up Looks of All Time
SMOKY EYES
Give eye makeup a bedroom-y kind of sex appeal by working in layers and smudging it along the way. First up, creamy black pencil—wedged into the upper and lower lashes and softened by gently rubbing with your finger or cotton swab. Trace over that with black shadow and smudge with the swab. Then sweep shimmery gray shadow over the upper lids and blend it up beyond the crease (the more tangled it is with the black, the better).
GLOSSY NUDE LIPS
There's no simpler way to get a sex-kittenish pout. Choose a nude that's slightly pink or flecked with shimmer (they're the most flattering), and concentrate the gloss on the center of the lips (that's the most fattening).
http://www.allure.com/images/magazine/2009/06/masl02_glossy.jpg
DEWY SKIN
Fake a glow with powder highlighter: a champagne shade if you have fair skin, a golden tone for medium or olive skin, or copper for dark skin. Dust it over your cheekbones, then dab some at the inner corners of your eyes, on the centers of your lids, and on the bow of your lips.
RED LIPS
The trick here is to pick a formula that looks moist (that's sexy), but not superglossy (that can verge into slutty territory). Look for lipsticks with "moisturizing," "creamy," or "butter" in their names, and select one that has a little brown in it
GOLD SHADOW
The key to making eyes glisten with gold: Choose a shimmery shade, and don't be skimpy with it. Spread a layer or two of gold over the lids and up beyond the creases, and don't forget to dab some at the inner corners of the eyes. When it comes to adding liner to the look, a smudgy chocolate brown looks way better than your usual black.
FULL LASHES
Create the effect of huge doe eyes by gluing on a few clusters of fake lashes before you layer on the mascara. Grab each cluster at its base with tweezers, dip the root in glue, wedge it into the outer corner of the upper lash line, and hold it in place for 15 seconds so it stays put.
FLUSHED CHEEKS
We all know what a vibrant pink glow evokes. What we don't all know is how to duplicate one believably: First, brighten skin all over with a slightly shimmery foundation—you can make it yourself by adding a few drops of liquid bronzer to your normal base. Then rub rosy cream blush on the apples of your cheeks and blend it back along your cheekbones using a few fingers—the heat of that skin-on-skin contact will cause the blush to melt beautifully.
Give eye makeup a bedroom-y kind of sex appeal by working in layers and smudging it along the way. First up, creamy black pencil—wedged into the upper and lower lashes and softened by gently rubbing with your finger or cotton swab. Trace over that with black shadow and smudge with the swab. Then sweep shimmery gray shadow over the upper lids and blend it up beyond the crease (the more tangled it is with the black, the better).
There's no simpler way to get a sex-kittenish pout. Choose a nude that's slightly pink or flecked with shimmer (they're the most flattering), and concentrate the gloss on the center of the lips (that's the most fattening).
http://www.allure.com/images/magazine/2009/06/masl02_glossy.jpg
DEWY SKIN
Fake a glow with powder highlighter: a champagne shade if you have fair skin, a golden tone for medium or olive skin, or copper for dark skin. Dust it over your cheekbones, then dab some at the inner corners of your eyes, on the centers of your lids, and on the bow of your lips.
RED LIPS
The trick here is to pick a formula that looks moist (that's sexy), but not superglossy (that can verge into slutty territory). Look for lipsticks with "moisturizing," "creamy," or "butter" in their names, and select one that has a little brown in it
GOLD SHADOW
The key to making eyes glisten with gold: Choose a shimmery shade, and don't be skimpy with it. Spread a layer or two of gold over the lids and up beyond the creases, and don't forget to dab some at the inner corners of the eyes. When it comes to adding liner to the look, a smudgy chocolate brown looks way better than your usual black.
Create the effect of huge doe eyes by gluing on a few clusters of fake lashes before you layer on the mascara. Grab each cluster at its base with tweezers, dip the root in glue, wedge it into the outer corner of the upper lash line, and hold it in place for 15 seconds so it stays put.
We all know what a vibrant pink glow evokes. What we don't all know is how to duplicate one believably: First, brighten skin all over with a slightly shimmery foundation—you can make it yourself by adding a few drops of liquid bronzer to your normal base. Then rub rosy cream blush on the apples of your cheeks and blend it back along your cheekbones using a few fingers—the heat of that skin-on-skin contact will cause the blush to melt beautifully.
ROSE-BITTEN LIPS
Give lips a juicy, just-been-kissed look by dabbing them with sheer strawberry-colored lipstick or balm. Concentrate the color in the middle of the mouth and blend outward—that gives the most natural effect.
STRONG BROWS
Think Brooke Shields next time you tweeze your brows. Pull out only the strays that fall well outside your brow line, and then get to work filling with brow pencil and powder. The pencil is for bald spots: Use short, light strokes to draw in missing hairs. The powder is to make brows look thicker: Load some on an angled brush and gently stroke through the entire brow. Finish by running a spooley brush through to blend all your handiwork.
Give lips a juicy, just-been-kissed look by dabbing them with sheer strawberry-colored lipstick or balm. Concentrate the color in the middle of the mouth and blend outward—that gives the most natural effect.
Think Brooke Shields next time you tweeze your brows. Pull out only the strays that fall well outside your brow line, and then get to work filling with brow pencil and powder. The pencil is for bald spots: Use short, light strokes to draw in missing hairs. The powder is to make brows look thicker: Load some on an angled brush and gently stroke through the entire brow. Finish by running a spooley brush through to blend all your handiwork.
KOHL-RIMMED EYES
It's the signature look of vixens and rock goddesses—and all it takes is black liner and some subtle blending.
1. Choose a waterproof pencil, so you can darken even the inner rims. Run the liner just inside the upper lids, then close your eyes tightly—this will smudge just the right amount of liner on the inner lids on the bottom.
2. Trace the upper and lower lashes with more black liner, and don't worry about neatness—your mistakes will disappear once you start blending.
3. Smudge the pencil outward with a dense eye-shadow brush or sponge—softening all that black liner will create the illusion of larger, deeper-set eyes
It's the signature look of vixens and rock goddesses—and all it takes is black liner and some subtle blending.
1. Choose a waterproof pencil, so you can darken even the inner rims. Run the liner just inside the upper lids, then close your eyes tightly—this will smudge just the right amount of liner on the inner lids on the bottom.
2. Trace the upper and lower lashes with more black liner, and don't worry about neatness—your mistakes will disappear once you start blending.
3. Smudge the pencil outward with a dense eye-shadow brush or sponge—softening all that black liner will create the illusion of larger, deeper-set eyes
BRONZED SKIN
The first trick to using bronzer: Choose powder (it's actually easier to apply than cream), and be sure the shade is more golden than brown and without a speck of shimmer. Second trick: Swirl the brush not just over your cheeks, but along your hairline and jawline and down the bridge of the nose. Make it look authentic by topping it with rosy blush on the apples of the cheeks.
The first trick to using bronzer: Choose powder (it's actually easier to apply than cream), and be sure the shade is more golden than brown and without a speck of shimmer. Second trick: Swirl the brush not just over your cheeks, but along your hairline and jawline and down the bridge of the nose. Make it look authentic by topping it with rosy blush on the apples of the cheeks.
SOFT PEACH MAKEUP
Peach may not spring to mind when you think "sexy," but consider this: It combines the warmth of bronzer with all the innocence and ease of pink. The best peach shades have hints of pink (when you're talking lipstick and blush) or tones of brown (for eye shadow).
Peach may not spring to mind when you think "sexy," but consider this: It combines the warmth of bronzer with all the innocence and ease of pink. The best peach shades have hints of pink (when you're talking lipstick and blush) or tones of brown (for eye shadow).
CONTOURED CHEEKS
If you weren't born with sculpted cheeks, you can paint them on (trust us, you won't look like a Falcon Crest throwback). First, sweep a matte powder blush under your cheekbones. (Suck in your cheeks to find the spot we're talking about.) If you're fair, use a soft beige blush; for medium skin, try a bronze shade; on dark skin, go with a brown one. Then, blend a powder highlighter along your cheekbones—pick one that nearly matches your natural skin tone.
If you weren't born with sculpted cheeks, you can paint them on (trust us, you won't look like a Falcon Crest throwback). First, sweep a matte powder blush under your cheekbones. (Suck in your cheeks to find the spot we're talking about.) If you're fair, use a soft beige blush; for medium skin, try a bronze shade; on dark skin, go with a brown one. Then, blend a powder highlighter along your cheekbones—pick one that nearly matches your natural skin tone.
SHIMMERY BROWN SHADOW
Blended along the lids and under the lower lashes, this spicy shade adds just enough color to enhance eyes, without screaming "I'm wearing makeup." Stick with warm shades—think anything in the toffee, caramel, or tobacco families. For night, brush the color over the lids and up above the creases of the eyes.
Blended along the lids and under the lower lashes, this spicy shade adds just enough color to enhance eyes, without screaming "I'm wearing makeup." Stick with warm shades—think anything in the toffee, caramel, or tobacco families. For night, brush the color over the lids and up above the creases of the eyes.
Thursday 9 June 2011
BEAUTY CAMPAIGNS THROUGH THE AGES
Retro images that captured an era
More than just marketing magic and kitsch catchphrases, beauty campaigns have documented the changes in women's lives throughout the 20th century - from 1940s wartime austerity and 1950s aspiration, through to sexual liberation, equality and a more diverse attitude to beauty. We've delved into the archives to bring you this retrospective of some of our favourite beauty campaigns from times gone by.
CHANEL, 1921
Before the wide-spread use of photography, illustration was a popular form of artisitc expression. This whimsical illustration shows a flapper girl lusting after Chanel No. 5 perfume, one of the first advertising the now-iconic fragrance.
MAYBELLINE, 1930S
This 1930s advert for Maybelline products promises that women of every age can have perfect skin.
SAVAGE, 1935
A dramatic art deco image to promote Savage blusher - priced at just ten cents.
REVLON, 1950S
A glamorous campaign for liquid make-up, promising to "turn the clock back 5 years".
REVLON, 1953
Revlon's iconic Cherries in the Snow shade was launched with this advert in 1953 featuring one of the world’s first supermodels, Dorian Leigh. Its sense of fantasy, opulence and escape from everyday domesticity made the brand popular with 1950s housewives.
MAX FACTOR, 1967
Max Factor invents new words with this psychedelic lipstick campaign.
YARDLEY, 1967
Famous for her statement lashes, Twiggy became the face of Yardley's falsies.
REVLON, 1970S
Revlon's Charlie Girl is the brand's most famous perfume, launched in 1973. The fragrance personified the independent woman of the 1970s, and the advert was the first perfume ad to feature a woman wearing trousers.
http://www.stylist.co.uk/resource/cache/binary/86c67b5f8669d8d2799e9da15ea0d214/350x500_Ad_2.jpg?m=1307115550
CHANEL, 1970S
Chanel has long had chic women as the face of Chanel No 5. Here Catherine Deneuve fronts the campaign - Nicole Kidman and Audrey Tautou would later follow in her footsteps.
YVES SAINT LAURENT, 1977
YSL's Opium caused a stir with its controversial name and brought accusations that brand designer Yves Saint Laurent was condoning drug use. The same perfume came under fire in the 1990s for the controversial ad with a naked Sophie Dahl.
MAYBELLINE, 1991
Supermodel Christy Turlington features in this campaign for Illegal Lashes mascara.
CHRISTIAN DIOR, 1993
An now-iconic image advertising Dior's Rouge lipstick and nail polish.
For a more detailed view of this article got to www.stylist.co.uk or pick up issue 81 of Stylist Magazine.
More than just marketing magic and kitsch catchphrases, beauty campaigns have documented the changes in women's lives throughout the 20th century - from 1940s wartime austerity and 1950s aspiration, through to sexual liberation, equality and a more diverse attitude to beauty. We've delved into the archives to bring you this retrospective of some of our favourite beauty campaigns from times gone by.
CHANEL, 1921
Before the wide-spread use of photography, illustration was a popular form of artisitc expression. This whimsical illustration shows a flapper girl lusting after Chanel No. 5 perfume, one of the first advertising the now-iconic fragrance.
MAYBELLINE, 1930S
This 1930s advert for Maybelline products promises that women of every age can have perfect skin.
SAVAGE, 1935
A dramatic art deco image to promote Savage blusher - priced at just ten cents.
A glamorous campaign for liquid make-up, promising to "turn the clock back 5 years".
REVLON, 1953
Revlon's iconic Cherries in the Snow shade was launched with this advert in 1953 featuring one of the world’s first supermodels, Dorian Leigh. Its sense of fantasy, opulence and escape from everyday domesticity made the brand popular with 1950s housewives.
MAX FACTOR, 1967
Max Factor invents new words with this psychedelic lipstick campaign.
YARDLEY, 1967
Famous for her statement lashes, Twiggy became the face of Yardley's falsies.
REVLON, 1970S
Revlon's Charlie Girl is the brand's most famous perfume, launched in 1973. The fragrance personified the independent woman of the 1970s, and the advert was the first perfume ad to feature a woman wearing trousers.
http://www.stylist.co.uk/resource/cache/binary/86c67b5f8669d8d2799e9da15ea0d214/350x500_Ad_2.jpg?m=1307115550
CHANEL, 1970S
Chanel has long had chic women as the face of Chanel No 5. Here Catherine Deneuve fronts the campaign - Nicole Kidman and Audrey Tautou would later follow in her footsteps.
YVES SAINT LAURENT, 1977
YSL's Opium caused a stir with its controversial name and brought accusations that brand designer Yves Saint Laurent was condoning drug use. The same perfume came under fire in the 1990s for the controversial ad with a naked Sophie Dahl.
MAYBELLINE, 1991
Supermodel Christy Turlington features in this campaign for Illegal Lashes mascara.
CHRISTIAN DIOR, 1993
An now-iconic image advertising Dior's Rouge lipstick and nail polish.
For a more detailed view of this article got to www.stylist.co.uk or pick up issue 81 of Stylist Magazine.
Saturday 4 June 2011
Women at Work
Banker Deemed Too Sexy For Her Job
Anna North — Debrahlee Lorenzana says she was fired from Citibank because her beauty was "too distracting" for her male colleagues. Her story is a disturbing example of discrimination in a male-dominated workplace — but also of girl-on-girl crime.
Working women can get caught in a double bind when it comes to proper attire, admonished on the one hand not to look too sexy and on the other not to be too dressed-down or masculine. Lorenzana's complaints about her time as a business banker at Citibank sound like a perfect illustration of this problem. The Village Voice's Elizabeth Dwoskin writes,
She was told not to wear fitted business suits. She should wear makeup because she looked sickly without it. (She had purposefully stopped wearing makeup in hopes of attracting less attention.) Once, she recalls, she came in to work without having blow-dried her hair straight-it is naturally curly-and [branch manager Craig] Fisher told a female colleague to pass on a message that she shouldn't come into work without straightening it.
She was also told, according to a lawsuit that she's filed, that "she should not wear classic high-heeled business shoes, as this purportedly drew attention to her body in a manner that was upsetting to her easily distracted male managers." But when she brought flip-flops to the office to move some heavy files, she was instructed to switch back to heels. After complaining about her treatment, Lorenzana was transferred, and then fired. She alleges that many women at Citibank dressed in a more provocative fashion, but that she was singled out "as a result of the shape of her figure." Because of the mandatory-arbitration clause in her contract (we've heard about such clauses before), her suit will go before an arbitrator, not a judge.
If Lorenzana's account is accurate, then it seems like a clear case of discrimination. It's also a reminder that holding women responsible for the way men react to their bodies is just as common in the West as it is in the Middle East. But the Voice's coverage of the story reveals another disturbing angle: the way women critique and police each other's looks. Lorenzana herself responded to her harassment by criticizing other women's attire: "If you want to talk about inappropriate clothes, go downstairs and look at some of the tellers!" In a letter to HR, she explicitly compared herself to her female coworkers, saying they "were able to wear such clothing because they were short, overweight, and they didn't draw much attention, but since I was five-foot-six, 125 pounds, with a figure, it wasn't 'appropriate.'" And describing the cultural underpinnings of her personal style, she says, "Where I'm from, women dress up — like put on makeup and do their nails — to go to the supermarket. And I'm not talking trashy, you know, like in the Heights."
It makes sense that Lorenzana would want to show she wasn't dressing less "appropriately" than other women, and since she was under attack, it's perhaps not surprising that she didn't do so in the most gracious manner. But more strange is the Voice's salacious take on the whole thing. In her opener, Dwoskin writes:
Everything about Debrahlee Lorenzana is hot. Even her name sizzles. At five-foot-six and 125 pounds, with soft eyes and flawless bronze skin, she is J.Lo curves meets Jessica Simpson rack meets Audrey Hepburn elegance-a head-turning beauty. [...] But when she got fired last summer from her job as a banker at a Citibank branch in Midtown-her bosses cited her work performance-she got even hotter.
Dwoskin closes in a similar vein, speculating that the case's arbitrator might "be too distracted by Lorenzana to focus on the evidence." Clearly she's trying to be light-hearted, but ogling Lorenzana in print the way her coworkers apparently did in life does a disservice to the seriousness of her discrimination claims. Then there are the comments. One Mary Artemis writes,
Well, I think it is time to recognize that we need to dress appropriately as women. If we dress to show off the curves, it may not be seen as conducive to business. I think it's just a mature attitude and acceptance. I, myself, as a woman, understand this.
Commenter Charmian Neary responds, ""Mary Artemis", who commented on this article, is a perfect example of the sad fact that women often are willing, even eager, participants in creating a "hostile" environment for an employee who is perceived as receiving more than her share of attention, even if that attention is unwelcome." But this argument runs perilously close to "they're just jealous." Rather than accusing commenters and coworkers alike of personal resentment, it would be more productive to ask why women, too, tend to internalize patriarchal workplace culture and all its injustices. My guess is this has less to do with coveting attention, and more to do with the feeling that playing by the boys' rules is the only way to get ahead. Neary's closing words, however, are spot-on:
If "curves" are not conducive to "business", its because "business" tends to perpetuate the primacy of men and their values — and men don't have curves. Apparently dicks are conducive to business however — as quite a few work at Citibank.
Image via Village Voice.
Anna North — Debrahlee Lorenzana says she was fired from Citibank because her beauty was "too distracting" for her male colleagues. Her story is a disturbing example of discrimination in a male-dominated workplace — but also of girl-on-girl crime.
Working women can get caught in a double bind when it comes to proper attire, admonished on the one hand not to look too sexy and on the other not to be too dressed-down or masculine. Lorenzana's complaints about her time as a business banker at Citibank sound like a perfect illustration of this problem. The Village Voice's Elizabeth Dwoskin writes,
She was told not to wear fitted business suits. She should wear makeup because she looked sickly without it. (She had purposefully stopped wearing makeup in hopes of attracting less attention.) Once, she recalls, she came in to work without having blow-dried her hair straight-it is naturally curly-and [branch manager Craig] Fisher told a female colleague to pass on a message that she shouldn't come into work without straightening it.
She was also told, according to a lawsuit that she's filed, that "she should not wear classic high-heeled business shoes, as this purportedly drew attention to her body in a manner that was upsetting to her easily distracted male managers." But when she brought flip-flops to the office to move some heavy files, she was instructed to switch back to heels. After complaining about her treatment, Lorenzana was transferred, and then fired. She alleges that many women at Citibank dressed in a more provocative fashion, but that she was singled out "as a result of the shape of her figure." Because of the mandatory-arbitration clause in her contract (we've heard about such clauses before), her suit will go before an arbitrator, not a judge.
If Lorenzana's account is accurate, then it seems like a clear case of discrimination. It's also a reminder that holding women responsible for the way men react to their bodies is just as common in the West as it is in the Middle East. But the Voice's coverage of the story reveals another disturbing angle: the way women critique and police each other's looks. Lorenzana herself responded to her harassment by criticizing other women's attire: "If you want to talk about inappropriate clothes, go downstairs and look at some of the tellers!" In a letter to HR, she explicitly compared herself to her female coworkers, saying they "were able to wear such clothing because they were short, overweight, and they didn't draw much attention, but since I was five-foot-six, 125 pounds, with a figure, it wasn't 'appropriate.'" And describing the cultural underpinnings of her personal style, she says, "Where I'm from, women dress up — like put on makeup and do their nails — to go to the supermarket. And I'm not talking trashy, you know, like in the Heights."
It makes sense that Lorenzana would want to show she wasn't dressing less "appropriately" than other women, and since she was under attack, it's perhaps not surprising that she didn't do so in the most gracious manner. But more strange is the Voice's salacious take on the whole thing. In her opener, Dwoskin writes:
Everything about Debrahlee Lorenzana is hot. Even her name sizzles. At five-foot-six and 125 pounds, with soft eyes and flawless bronze skin, she is J.Lo curves meets Jessica Simpson rack meets Audrey Hepburn elegance-a head-turning beauty. [...] But when she got fired last summer from her job as a banker at a Citibank branch in Midtown-her bosses cited her work performance-she got even hotter.
Dwoskin closes in a similar vein, speculating that the case's arbitrator might "be too distracted by Lorenzana to focus on the evidence." Clearly she's trying to be light-hearted, but ogling Lorenzana in print the way her coworkers apparently did in life does a disservice to the seriousness of her discrimination claims. Then there are the comments. One Mary Artemis writes,
Well, I think it is time to recognize that we need to dress appropriately as women. If we dress to show off the curves, it may not be seen as conducive to business. I think it's just a mature attitude and acceptance. I, myself, as a woman, understand this.
Commenter Charmian Neary responds, ""Mary Artemis", who commented on this article, is a perfect example of the sad fact that women often are willing, even eager, participants in creating a "hostile" environment for an employee who is perceived as receiving more than her share of attention, even if that attention is unwelcome." But this argument runs perilously close to "they're just jealous." Rather than accusing commenters and coworkers alike of personal resentment, it would be more productive to ask why women, too, tend to internalize patriarchal workplace culture and all its injustices. My guess is this has less to do with coveting attention, and more to do with the feeling that playing by the boys' rules is the only way to get ahead. Neary's closing words, however, are spot-on:
If "curves" are not conducive to "business", its because "business" tends to perpetuate the primacy of men and their values — and men don't have curves. Apparently dicks are conducive to business however — as quite a few work at Citibank.
Image via Village Voice.
Make Up gets Noticed in the Boardroom
In the third of our extracts from her book, Drop Dead Brilliant, Lesley Everett discusses make-up and grooming.
It is a fact that women who wear make-up in business generally get better jobs, get promoted more quickly and get paid more. Whether we like it or not, we live in a very visual world and we get judged on appearances.
In fact, in a survey, 64 per cent of directors said that women who wore make-up look more professional and 18 per cent of directors said that women who do not wear make-up “look like they can’t be bothered to make an effort”.
Most of us love to see a perfectly made-up face, but many women still wear little if any make-up for business or stick to the same colours and techniques they have used for the past ten years.
I recommend visiting an image consultant or beauty therapist for a make-up lesson if you are stuck in a rut. Take along your make-up bag and revamp it. Make-up does have a shelf life, so if you have products that have been there for years, discard them.
How to look the business
Dress to impress. First impressions are vital in job interviews and what you wear is important, but it dosn't end at attention to sartorial detail
Cufflinks, colour and collars will get you noticed
Small touches can create a big impression
Men also need to consider make-up, which is something they should be aware of for diminishing minor skin imperfections that could be distracting. Foundation or base make-up should be considered if your skin tone is uneven or blotchy, and certainly if you are presenting under bright lights or making a TV appearance. Always apply your base after a moisturiser. Choose a colour close to your natural skin tone and you will give your skin a healthy and natural appearance.
Don’t try to create a tan with foundation, it will just look false. Try a tinted moisturiser instead if you feel you are looking a little pale. Meanwhile, concealers will diminish the appearance of blemishes and conceal dark patches around the eyes.
Men also need to pay careful attention to grooming: dark and bushy eyebrows can look intimidating if they are too thick and if they meet in the middle. Keep the area between the eyebrows clear by plucking and, if you cannot bear to do it yourself, visit a salon.
Facial hair has long been considered a potential blight on career advancement; a survey suggests that 60 per cent of businessmen without beards or moustaches feel that these features are a bad sign. Some feel that the person can’t be bothered to shave and others that they are hiding something.
Overall, remember the way that you dress is the packaging of your personal brand; whether you like it or not, you will be judged on your appearance.
Drop Dead Brilliant by Lesley Everett (McGraw-Hill)
THE TIMES THE SUNDAY TIMES TIMES+
Sunday 1 May 2011
Earl Spencer's daughter Kitty Spencer at the Royal Wedding
I'm glad I didn't miss this image in the Telegraph of Earl Spencer's daughters. In particular Kitty Spencer who I made up for the Royal Wedding. The request came at the last minute and I have to thank Ailsa Miller at Tatler for putting my name forward- How amazing to take part in getting one of the guests ready for the big day.
We met bright and early at Simon Warwick's Hair Salon and my brief so far had been along the lines of a nude colour palette to match the dress.
I prepped Kitty's beautiful skin with Shu Uemura moisturizing essence and went over with an extra layer of Vaishaly's moisturizing cream, waited for that to settle in for a few seconds, then applied Laura Mercier's oil free primer.
I evened out Kitty's skin with Givenchy's photoperfection light foundation in light gold and bobby brown's colour corrector in bisque under the eyes. Next, a light dusting of shu Uemura translucent loose powder over the T-zone and Laura Mercier's brightening powder under the eyes to set the bobby brown corrector.
To fill in the eyebrows I used Givenchy's brow & eye prisme (you can use any of the colours on either brows or eyes)and I applied Laura Mercier's metallic cream eyeshadow in Platinum all over the eye as a base. In order to redefine the eye lid and socket I applied a mix of Laura Mercier eyeshadow In gilt and one of the colours from the Givenchy Brow and eye Prisme, Laura mercier cake eyeliner in black ebony underneath and above the lash line as well as a trace of it on the bottom lashes. Next we went for Mac eyelashes to give her look for a glamorous finish. I warmed up her skin with Nars bronzer in Laguna, adding shimmer and shine on the cheeks and cheek bones with Pixi's liquid shimmer and Giorgio Armani's bronze liquid Shimmer on the apples of the cheeks.
I lined Kitty's lips with Givenchy Lip pencil No.3 & added Rose Caprice lipstick also by Givenchy.
Sunday 17 April 2011
Lloyd Simmonds beauty guru & Yves saint Laurent: Two industry giants unite
By Alexander Patino
Yves Saint Laurent is looking to switch gears with the launch of the fashion house’s radiant, carnal and powerful Rouge Pur Couture line that debuted this past June (2010). And, the appointment of Lloyd Simmonds, the brand’s new International Makeup Artist, it’s clear that YSL is taking steps to stay on the forefront of beauty.
A native of British Columbia, Simmonds was the creative mind behind the makeup for the Benetton group’s international campaigns for both fashion and beauty products for over 13 years. After his great Italian strides, Simmonds moved to Paris where he turned out over 70 covers for French Elle and other international editions of the publication.
With his artistic origins deeply rooted in the theater, Simmonds’ work has always been notably dramatic – hyperbolic in its deployment of glamour. It’s no wonder that Yves Saint Laurent, one of the fashion world’s leading voices, came around and asked him to lead the way to what beauty will mean tomorrow. Fashion Q&A met up with the top makeup expert at YSL’s New York offices and got the scoop on how the experience has been so far, his favorite fall look and what he plans to bring to a house of beauty that seems to have everything covered.
FASHION Q&A: You were just appointed Yves Saint Laurent’s International Makeup Artist this past June. How has the experience been these past
four months?
LLOYD SIMMONDS: You know it’s been a humbling experience. It’s something I’ve always dreamt about, but I didn’t realize that there were so many
people behind this brand. It’s an important brand to an entire nation – to France! It’s definitely a lot of responsibility resting on my shoulders, but I couldn’t be happier about that. Luckily for me everything that YSL stands for is what I’ve always loved about style – an exaggerated elegance.
FQA: Nicolas Ghesquiere for Balenciaga once said that each of his collections carries a horror movie leitmotif. Would you say that there is an element that has always been present in your work in these past 20 years as a makeup artist?
SIMMONDS: There is. As much as possible, I do like to have an exaggerated glamour. It’s not necessarily dark, but it’s definitely exaggerated. I like to be theatrical. If I’m working on any given magazine that theatricality can be interpreted any number of ways. Here at Yves Saint Laurent I’ll be working with
the label’s inherently extreme luxury and its extreme Parisian eroticism. I’m keeping that – there’s no way around the tenets of the line. Yves Saint Laurent has a mystical heritage and I’m looking forward to using that as a jumping off point.
FQA: Prior to your exciting appointment at YSL you were styling Benetton’s ads for over thirteen years. In other words, you’ve taken a complete
polar opposite turn and you definitely seem better suited at the French fashion house. Did you feel a certain kind of restraint during your tenure at Benetton? Do you see this as a freeing opportunity?
SIMMONDS: What I learned at Benetton was the multiplicity of both women and men. It was a huge spectrum, which I think is also very Yves Saint
Laurent. He was the first to use colored girls on the runway – and that was way, way back. And that’s what I think I can bring to YSL, the fact that I love a multicolored world. I like a world that is not just one thing.
FQA: We’re well into our autumn season now. What would you say are the major beauty trends that women should keep a close eye on?
SIMMONDS: I do love a strong lip. We do have our new Rouge Pur Couture that falls right into
that. A dark, rich lip for fall, I’ve always liked that. But I don’t think there should be any dictates. I
think all women should be free to follow their muse. The wilder, the crazier, the better.
FQA: Yves Saint Laurent had a double debut this year. Your appointment to the brand as International Makeup Artist coincided with the launch of YSL’s Rouge Pur Couture lipstick line. But word is that you will be spearheading your own cosmetics designs, including nail polishes for the brand, which are supposed to be debuting in Fall 2011. Can you give us a hint about what’s in store?
SIMMONDS: I’ve already worked on six different shades lipsticks that will be my Spring/Summer versions of this season’s Rouge Pur Couture. But my first real collection that I’ve had 100% input on will be available in stores in August and the ads for that should be out around the same time – around July or August. You’ll see that when it debuts later next year, it will be an ultimate, super statement about the richness of the Yves Saint Laurent universe.
THE BUZZ ON BEAUTY
With the holiday season approaching you may be thinking of updating your look. And, Yves Saint Laurent has all the bases covered to help you turn heads with a new line of limited edition products
that puts to rest the age of nudes and gives release to a blast of light and color. Start prepping that beauty artillery bag with the lipstick of heroines, Rouge Pur Couture and take a look at what the ultraglam French house has in store.
Palette Metallic Colorama is a face highlighter with a pearly finish that comes helps to blend away
any of your complexion’s imperfections with a pink champagne shimmer. Inspired by YSL’s limited edition Metallic Colorama collection of accessories, this dazzling finishing powder comes in a chic golden leatherette case.
A virtual magic wand in a pen, the Touche D’Or dusts the complexion with an illuminating powder.
Helping to accentuate the face’s contours and brighten the cheekbones, this incandescent sheen adds a fantastic glow to the eyes and the lips when mixed with another fun color. Make sure to dab the arches of the eyebrows and the corners of the eyes with your Touche D’Or brush to give you face an elegant brightness.
Achieve the ultimate vintage look with La Laque, a trilogy of gold shades in Yves Saint Laurent’s metallic spin on the holiday season. Another metallic colorama gem, these haute nail polishes come
in three new amazing tones: No. 139 – Aged Gold, No. 140 – Rosy Copper and No. 141 – Brilliant Silver. Apply to the very tips of the fingernail to add a little playfulness to your holiday party look.
Yves Saint Laurent Spring 2011 Libertine Make Up Collection
If you haven’t seen it yet – here is the Spring 2011 makeup collection by Yves Saint Laurent called Boheme Libertine, created by Lloyd Simmonds.
I went passed the counter yesterday and saw my wonderful friend Peter who is their account business manager. His love of colour and texture is absolutely infectious (as is mine) and I am now absolutely IN LOVE with ALL of the waterproof eye pencils. The texture is creamy and rich,the colours stay in place and you can either smudge them with your fingers or use a brush for a fool proof smoky eye or let them set.
The new eyeshadows are wonderful, wet or dry (sorry Shu Uemura- eat your heart out!!)
Fresh and bright shades for spring are always welcomed!
The star product of the collection is the highlighting powder called Pink Celebration.
There are 8 new shades of Rouge Pur Couture lipsticks and a new set of French Manicure with blue and taupe/mauve nail polishes and 3 new shades of cream blush Velvety Peach, Passion Red and Temptation Fuchsia.
Solo Eye Shadow in
No.15 Gold Leaf
No. 16 Topaz Blue
Golden Gloss in
# 41 Golden Isolence
#42 Golden Obsession
Mascara Singulier in Deep Plum
I went passed the counter yesterday and saw my wonderful friend Peter who is their account business manager. His love of colour and texture is absolutely infectious (as is mine) and I am now absolutely IN LOVE with ALL of the waterproof eye pencils. The texture is creamy and rich,the colours stay in place and you can either smudge them with your fingers or use a brush for a fool proof smoky eye or let them set.
The new eyeshadows are wonderful, wet or dry (sorry Shu Uemura- eat your heart out!!)
Fresh and bright shades for spring are always welcomed!
The star product of the collection is the highlighting powder called Pink Celebration.
There are 8 new shades of Rouge Pur Couture lipsticks and a new set of French Manicure with blue and taupe/mauve nail polishes and 3 new shades of cream blush Velvety Peach, Passion Red and Temptation Fuchsia.
Solo Eye Shadow in
No.15 Gold Leaf
No. 16 Topaz Blue
Golden Gloss in
# 41 Golden Isolence
#42 Golden Obsession
Mascara Singulier in Deep Plum
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