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.

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.

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

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.

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).

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.

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.

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.

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.

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+

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.

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

Review: Shu Uemura UV Under Base Mousse SPF17 PA++

Review: Shu Uemura UV Under Base Mousse SPF17 PA++

Women In Art

Les Saisons Russes du XXI Siecle - programme 1| Production

Les Saisons Russes du XXI Siecle - programme 1| Production

Brand Anna Wintour

'Brand Anna Wintour'
'You can make a film in Hollywood without Steven Spielberg's blessing, and you can publish software without Bill Gates's blessing, but you can't succeed in fashion without Anna's blessing.'
BY MELISSA WHITWORTH | 25 MARCH 2011

Anna Wintour's cover for WSJ Magazine.
Anna Wintour has been the undisputed queen of the $350 billion fashion industry since taking over the editorship of American Vogue in 1988.

Kate Moss and Anna Wintour are afflicted by 'shyness', says Mario Testino
She is the cover star - in a shoot by Mario Testino - of WSJ Magazine , the Wall Street Journal's glossy weekend magazine, which goes on sale tomorrow in the US. The accompanying story seeks to explain why Wintour, after all these years, is still the most powerful figure in fashion.
Anna Wintour talks exclusively to The Telegraph at New York Fashion week
R. J. Cutler, the producer of "The September Issue", tells the magazine: "You can make a film in Hollywood without Steven Spielberg's blessing, and you can publish software without Bill Gates's blessing, but you can't succeed in fashion without Anna's blessing."

Wintour transcends the boundaries of what a fashion magazine editor does. She has, for example, urged the French government to fund young designers; organised an annual night of shopping called "Fashion's Night Out" to help New York's struggling retailers through the recession; and vigorously promoted young talent - like Marc Jacobs - to the bosses of the luxury conglomerates. Jacobs took the reins at LVMH's Louis Vuitton in 1997 largely because of Wintour's tutelage.
Of finding new talent to feature in the magazine - Sean "Puff Daddy" Combs and LeBron James, the basketball star, have been a few eyebrow-raising inclusions over the years - she says: "There are people who are like beacons, and I'm in the fortunate position that I can meet such people.
Anna Wintour stars in Sean 'P Diddy' Combs' new album
"To be in Vogue means something. Not all of them become friends, but it's part of my job to get to know these people and try to understand who they are, what they are and what future they have. I won't pretend that I'm sitting here with a spreadsheet . . . 'Now it's time to reach out to LeBron James.' It's instinctive."
Jacobs says: "Her genius is picking people very astutely, whether in politics, movies, sports or fashion."
Harvey Weinstein has had a 15 year-long friendship with Wintour. "I'm a streak player, but Anna's there, good or bad," says Weinstein. "When I wasn't doing so well, Anna would throw a party and put me next to Bernard Arnault."
Samantha Cameron and Anna Wintour team up
When Baz Luhrmann was drowning in bad press before the release of "Moulin Rouge!" (which went on to win two Oscars) he sent Wintour an early, half-finished cut of the film. He says he "always listens" to what Wintour has to say.
Despite, or perhaps because of, her power, Wintour has endured years of derision and been called all sorts of unflattering nicknames - the most prevalent being "Nuclear Wintour" because of her so-called icy demeanour.
"She gets such a bad rap. She stands by the people she believes in, and if you're not one of those people, perhaps you take a different view," says Jacobs.
Once, Wintour told a press conference, "It's true, of course, that I beat all my assistants, lock them in a cupboard and don't pay them." She took the release of "The Devil Wears Prada" in her stride, showing up at the premiere of the film... wearing Prada, of course.
The storyline of "The Devil Wears Prada" centres around a failed attempt at a coup to overthrow the editor in chief, Miranda Priestley, played by Meryl Streep, and replace her with a rival French editor.
For years, there have been rumours that Wintour would be ousted at Vogue and replaced by Carine Roitfeld, the former editor of French Vogue.
S.I.Newhouse, her proprietor, tells WSJ Magazine that he never plans to replace her. "Never. I hope she's here 10 years from now, 20 years from now."

Teaser: Keira Knightley's motorcycle-chic for Chanel - Fashion Videos - Telegraph

Teaser: Keira Knightley's motorcycle-chic for Chanel - Fashion Videos - Telegraph

Teaser: Keira Knightley's motorcycle-chic for Chanel - Fashion Videos - Telegraph

Backstage with Marc Jacobs at Louis Vuitton autumn/winter 2011 - Fashion Videos - Telegraph

Backstage with Marc Jacobs at Louis Vuitton autumn/winter 2011 - Fashion Videos - Telegraph

Blake Lively- The face of Chanel Mademoiselle Handbags

Everyone's favourite Gossip Girl, Blake Lively's debut Chanel ad is here - in all its glory.

Blake is the face of Chanel Mademoiselle handbags.

I love it - and I want one of those damn bags too

.

First heard on the beauty scoop blog.

xoxo

Warhol's Superstars

"Everything has its beauty," Andy Warhol once said. "But not everyone sees it." At the height of the sixties, the artist made hundreds of films starring a coterie of socialites, models, teenage ex-cons, transvestites, and street urchins. He called them his Superstars, and while they didn't always conform to Hollywood's definition of pretty, all of them were fabulous—a virtual requirement for making it through the door at the Factory. There were the mascara-loving It girls Nico and Edie Sedgwick, the glamorously aristocratic and voluminously blonde "Baby" Jane Holzer, and the tragic Ingrid Superstar, whose real name, life pre-Warhol, and unexplained disappearance are still shrouded in mystery. And don't forget Ultra Violet and Viva, the latter of whom was on the phone with Warhol when he was shot by Valerie Solanas.

see more photos
A curated selection of Warhol's movies, including some of his animated photo booth Screen Tests, is now on view at MoMA's Andy Warhol: Motion Pictures exhibition. But you don't have to hit the museum to watch the artist's legacy in motion. The makeup teams at Diane von Furstenberg and Victoria Beckham's Spring shows paid homage to Warhol and his movie muses, via electric pink lips and, yes, ultraviolet eye shadow.
—Holly Siegel

How to get the fall flush- From beauty counter blog: Beauty Insider

While we typically associate blush with Spring—when an onslaught of rosy pigments tend to hit shelves to help the pale masses ease their way out of winter and into the summer sun—the great cheek accentuator is making an uncharacteristic splash for Fall. As one of the trends we’ve noticed backstage this season, blush has come in a whole range of shades and, perhaps more interestingly, placements, providing an updated take on an age-old staple.

Most recently, models sported “a gorgeous rosy cheek” at Versace, where Pat McGrath finger blended Olay’s Simply Ageless moisture-rich formula from the apples of models’ cheeks toward their temples, only a day after making it the star product backstage at Prada. There, in accordance with Mrs. Prada’s “innocent glamor” directive, McGrath placed the rosy pigment on cheeks, lids and lips for a uniform flush.

Before the fashion pack headed across the pond, rouge went rogue on countless occasions in New York, too. At Marc Jacobs, François Nars dabbed his Cream Blush in Lokoune low and haphazardly to resemble “a grandmother who’s a bit eccentric.” The placement wasn’t all that dissimilar to Tom Pecheux’s at Ralph Lauren where the face painter intentionally went low to “get rid of the sporty look. This keeps it from being too girly,” he said of the layers of MAC Cosmetics blush in Fleur Power, a bright pink, and Esée Lauder Silky Powder Blush in Radiant Peach, a warm apricot, that he blended just above the outer corners of the mouth before painting on a bright red pout.

Perhaps our favorite flush thus far came at the hands of Gucci Westman. “I wanted you to really feel it-like it’s authentic,” the Revlon global artistic director said at Oscar de la Renta where she swirled the brand’s ColorBurst Lipsticks in Fuchsia and Candy Pink in a “big apple” on models’ cheeks. The best part? Her inspiration: Westman could not get the image of Björk on the Jean Paul Gaultier runway circa Fall 1994 out of her head when the raven-haired Icelandic beauty rocked a similar look. Love.
Photo: Clockwise from top left, Luca Cannonieri / GoRunway.com at Marc Jacobs; Luca Cannonieri / GoRunway.com at Oscar de la Renta; Luca Cannonieri / GoRunway.com at Ralph Lauren; Luca Cannonieri / GoRunway.com at Versace; Luca Cannonieri / GoRunway.com at Prada
tags: Francosi Nars, Gucci Westman, Makeup, Marc Jacobs, Olay, Oscar De La Renta, Pat McGrath, Prada, Ralph Lauren, Revlon, Tom Pecheux, Versace

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“Sick Smirks” Backstage At Antonio Marras
February 26, 2011 3:14 pm

Antonio Marras’ fascination with proportions and recycled fabrics inspired the twisted forties makeup that made a lasting impression at his show yesterday. With the collection taking its cues from the designer’s mother in the late 1940’s, a giant mood board featuring Mama Marras in her prime was erected backstage, complete with collage cutouts of lips and eyes, which were taped on top of the images’ own features. It was a bizarre and slightly jarring sight, which wasn’t lost on makeup artist Lisa Butler, who chose to focus her energy on re-creating a similarly disproportionate, enlarged mouth. “I didn’t want to get stuck in the forties with the makeup so I immediately avoided plum shades. I took a classic shade and twisted it,” she said. She constructed a two-toned pout by painting a slick of MAC Lipstick in Runaway Red—a matte crimson due out for fall—on both top and bottom lips and adding a coat of its Lip Pencil in Genuine Orange on the bottom only. The tonal experiment also had an off-kilter shape. “It’s got a joker element,” Butler pointed out with pride. “We’ve tipped up the corners of the lips, which gives an impression of a sick smirk, almost like we’ve drawn on a smile—it’s just a bit weird!” And how. But in a season that has offered up more straightforward red lipstick applications than we have room to mention here, weird is where it’s at.
—Christina Bentley
Photo: Yannis Vlamos / GoRunway.com
tags: Antonio Marras, Lisa Butler, MAC Cosmetics, Makeup

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Made In The Shade(S), Backstage At Moschino
February 25, 2011 8:24 pm

Moschino’s Fall runway may have had all the quirky twists you’d expect to see from the Italian fashion house (Coco Rocha sported a chicken hat, after all) but behind the scenes there was a well thought-out tribute to retro glamour, with nods to “high society, Mr. [Irving] Penn, and fifties makeup,” famed face painter Tom Pecheux revealed backstage. This meant yet another graphic eye sighting in Milan, but this one had a clever twist. “We stole the shape of this dark eye from the sunglasses in the collection, so it looks like every girl is wearing them on the catwalk whether she is or not,” Pecheux said as he layered MAC Single Matte eye shadow in Carbon on top of a base of its Technakohl liner in Graphblack drawn to resemble an elongated ovoid shape. To correspond with the collection’s masculine attitude, which was helped along by the appearance of a few German-style military caps, Pecheux applied a blend of MAC powder blush in Pink Swoon and Well Dressed in what he described as a “boyish” way, so low underneath the cheek bones to avoid “a pretty look.” Lips were erased with concealer to finish the face and to keep the focus on the eyes.
Hairstylist Odile Gilbert rolled models’ tresses into tight and tall conical French twists to mirror the exaggerated and elongated lids. “It’s a super-classic French twist that’s tight on the sides,” Gilbert disclosed while coating strands with Elnett hairspray, backcombing for height and texture, and pinning to secure.
—Christina Bentley
Photo: Luca Cannonieri / GoRunway.com
tags: Elnett, Hair, Makeup, Moschino, Odile Gilbert, Tom Pecheux

Sass & Bide and Shu Uemura at London Fashion week

Australian label Sass & Bide dazzled boldly at the opening night of the London Fashion week with tribal prints, splashes of bold colours and silk drapery.


But it wasn’t just the collection that created a buzz, the night’s beauty trend complimented the clothes but made a statement with its own bold yet minimalist look.


The free spirited look was created by Shu Uemura who were inspired by a carefree-girl with a “happy go lucky approach to life“.

International Creative Director, Kakuyasu Ucheiide said: “I wanted to create a fresh, natural but striking look which enhanced the collection and did not distract away from the clothes”.


The rocker girl look can be achieved by applying shimmer liquid liner under the lower lashes, heavy-duty mascara and defined brows. The stage performer instant glow gave an illuminated radiance to the skin. A matte lipstick and taupe cream blusher gave a subtle glow to the cheeks and lips. All products except for Taupe Cream Blush or the Shimmer Eyeliner are on counter in Australia right now, they will be coming soon.

Courtesy of Shu Uemura

Beauty Insider- The scoop so far at New York Fashion Week

BEAUTY INSIDER
An Ode To The Great Midwest, Backstage At Rodarte
February 16, 2011

Rodarte’s Kate and Laura Mulleavy have a thing for blondes. Their California gold rush collection for Spring necessitated a gaggle of tawny-haired catwalkers, and so, too, did their Days of Heaven-derived Fall offering. “She’s a girl from the country,” hairstylist Odile Gilbert said of the matte-textured manes she was coating with Aveda Air Control hair spray and its Phomollient Styling Foam mousse, which she worked into strands with her hands to get piece-y definition. “The spirit is a field of wheat,” she continued of the mostly flaxen locks she was styling with side parts and “supernatural,” sweeping half-up-half-downs, secured with a thin, loose braid and the occasional gilded fan-shaped hair clip designed by the Mulleavys. “It’s a mess under control,” Gilbert concluded of her handiwork. Discussing the “pastoral beauty” look, makeup artist James Kaliardos said, “It’s the light at dawn and dusk”—those brief moments of the day that photographers often refer to as “the magic hour” for the sun’s lovely glow. Building an eye reminiscent of a “stormy sunset,” Kaliardos glided a pre-mixed blend of MAC Pro Cream Colour Base in Nude and Yellow Scream over models’ lids, adding its gray/lavender Eyeshadow in Crystal through the crease. Brows were diffused ever so slightly with a layer of MAC Eyeshadow in Soba, a nutty beige. To give girls an authentic, straight-off-the farm touch, Kaliardos coated their lashes with MAC Pro Longwear concealer in NC-45 to lighten. Complexions were left pretty bare, save for a dusting of MAC Blush in So Sweet So Easy, a bright pink, that Kaliardos dragged on the top of cheekbones and across the nose ridge before carving out a minimal contour with its Sculpt and Shape powder in Bone Beige. Finishing touches came in the form of a rosy-brown lip painted with MAC Lipstick in Photo and nails lacquered with Deborah Lippmann’s No More Drama. But not every girl got the metallic copper polish. Lindsey Wixson and Karlie Kloss, both born Midwesterners, were treated to ten fingers of Lippmann’s Jessica Rabbit, a red-sequins varnish that she hand-mixed for the show to match the stunning red gowns the two models wore on the runway. So, was it an accurate homage to America’s bread basket? “It’s like glam Kansas,” Wixson offered. “It’s not a thoroughfare for fashion, but it’s home to me.”
—Celia Ellenberg
Photo: Luca Cannonieri / GoRunway.com
tags: Aveda, Hair, James Kaliardos, MAC Cosmetics, Makeup, Odile Gilbert, Rodarte

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BEAUTY INSIDER
Graphic Dominatrix Meets Eccentric Grandma, Backstage At Marc Jacobs
February 15, 2011

Chinstraps. The odd accoutrement appeared for the first time this season backstage at Victoria Beckham and we paid it no mind as a potential recurring fashion-meets-beauty theme for Fall. But there it was again at Marc Jacobs, anchoring small berets set atop sleek ponytails. “Dominatrix ponytails,” Redken creative consultant Guido Palau clarified of the graphic up-dos that were prepped with Redken’s Blown Away 09 Blow Dry Gel, dried, and flat-ironed, before being secured with a hair-wrapped elastic and and a spritz of its forthcoming Shine Flash 02 Glistening Mist. “The chinstraps bring in a forties illustration effect,” Palau said—that almost cartoonish quality in which not one hair is out of place. “It’s the perversion of convention,” he continued of the classic, girl-next-door style that had been given a “severe” makeover for Jacobs’ barrage of rubber and fake fur. With hair removed from models’ faces, makeup maestro François Nars was given free-reign to pronouncedly paint them. “It’s like a grandmother whose a bit eccentric that puts on too much blush and her eyeliner wrong,” Nars quipped of his “droopy” liner job, drawn downward on the top lash line with his new for Fall Larger Than Life Longwear Eyeliner in Via Venetto, a dark black. Models were also given a heavy flush low on the cheeks courtesy of Nars’ Cream Blush in Lokoune, which he finger-blended to resemble the rouge in “old 18th century paintings.” Lids were dusted with the red shade from his forthcoming Eyeshadow Duo in Grand Palais for depth and lashes were treated to multiple slashings of Nars’ Larger Than Life Volumizing mascara to complete a look that he described as “a little decadent and a little bit off.” It was a spot-on beauty mix for a collection that had lace and latex in equal measure.
Photo: Luca Cannonieri / GoRunway.com
tags: Fran�ois Nars, Guido Palau, Hair, Makeup, Marc Jacobs, NARS Cosmetics, Redken

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BEAUTY INSIDER
At Donna Karan, Grace Kelly Plays Beauty Muse (Again)
February 15, 2011

Where had we seen this before, we thought to ourselves when we happened upon Wella global creative director Eugene Souleiman’s voluminous donut-shaped chignons at Donna Karan? “I’ve seen this shape before,” Souleiman concurred, “but I’ve never seen it with this texture,” a matte finish he’d created by prepping strands with a mix of Wella’s Ocean Spritz and its Wet Perfect Setting blow-dry lotion. “It gives a severity while having a subtlety to it,” Soulemain continued of the high ponytails he curled with a two-inch barrel iron before rolling sections toward the base of the updo and pinning them in place. “Grace Kelly with a modern twist,” Charlotte Tilbury offered of the backstage beauty muse of the day. And then it clicked: The hair was a near identical match to the Princess of Monaco-inspired look at Oscar de la Renta’s Spring show. Tilbury’s makeup job, on the other hand, was decidedly different. While Kelly’s icy blonde screen star persona was modernized with green eye shadow last season, Tilbury did her updating with a “marshmallow Pepto pink” pout, courtesy of three different MAC lipsticks in Flesh Pot, See Sheer, and Up the Amp—a color that was reinforced on nails with two coats of Deborah Lippmann’s creamy Valentine’s Day-appropriate Shape of My Heart. Skin was treated to a “Hollywood glow” from a mix of MAC’s Face and Body Foundation and its Strobe Cream, which Tilbury added for a luminous finish before building in shimmering contours with its Cream Colour Base in Hush. As for the eyes, they were coated with a wash of MAC’s Cream Colour Base in Mid-Tone Sepia, a tarnished beige color, and topped off with a slick of MAC Pro Gloss Texture for added glisten. A touch of chocolaty brown mascara applied to the roots of lashes and brows that were taken down ever so slightly with concealer completed Karan’s new age debutantes.
—Celia Ellenberg
Photo: Luca Cannonieri / Gorunway.com
tags: Charlotte Tilbury, Donna Karan, Eugene Souleiman, Hair, MAC Cosmetics, Makeup, Oscar De La Renta, Wella

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BEAUTY INSIDER
Carolina On The Mind: A Herrera Beauty How-To
February 15, 2011

“Classic Carolina” is how Herrera’s glam squad described its inspiration at the designer’s Fall show. For makeup artist Diane Kendal, that meant timeless beauty. All the quintessential elements were there: defined eyes courtesy of a precise etching of black cream eyeliner drawn close to the lash line and slightly flicked out; a romantic pink cheek blended into models’ skin with MAC’s forthcoming Blush in Angel; and lips painted a sweet shade of sheer rosy-brown with a slick of its Lipstick in Prince Noir. Full brows and a wash of clear gloss on lids added that extra bit of runway glamour. Hair was similarly demure, thanks to coiffing star Orlando Pita, who prepped strands with MoroccanOil’s Styling Cream before applying heat and creating a soft side part. For his next rick, Pita gathered tresses into a low ponytail, which he tucked into itself and then pinned to secure. “It’s boyish in front,” he said of the style, which was deliberately pulled off models’ necks to showcase an abundance of collars in the collection. “I want it to look neat,” Pita added. Herrera seems to be slowly edging into slightly edgier territory, though. For only the second time in her career, the designer requested dark nails—two thin coats of CND’s Dark Ruby, to be precise. But the point was to help bring an even more “luxurious, expensive” feel to the clothes, not to go goth. Don’t get it twisted.
—Celia Ellenberg
Photo: Luca Cannonieri / Gorunway.com
tags: Carolina Herrera, Diane Kendal, Hair, MAC Cosmetics, Makeup, Morrocanoil, Orlando Pita

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BEAUTY INSIDER
Karlie Kloss Talks Lacquer Love
February 15, 2011

Karlie Kloss is probably best known for those brow-tastic Marc Jacobs campaigns and her impressive stature. At 5′ 11″, the Midwesterner towers over many of her cohorts, kicking her long legs out in front of her body for one of the most mind-boggling walks in the biz. Believe it or not, Kloss is also one hell of a good hand model. “I love nail polish,” Kloss revealed to us backstage at Donna Karan yesterday, where we snapped her in Deborah Lippmann’s Shape of My Heart, an opaque pastel pink lacquer, only a few short hours after she was spotted showcasing CND’s Dark Ruby at Carolina Herrera. “I love a bright red,” she said of her color of choice—”like an obnoxiously bright red. It’s like red lipstick; no matter what you’re wearing it makes you feel like Jerry Hall!” Kloss’ crimson wishes came true this morning at Rodarte’s prairie girls-inspired show, where Lippmann made a repeat appearance toting Jessica Rabbit, a scarlet sequins varnish that only Kloss and Kansas-born Lindsey Wixson were treated to. When we asked Kloss about her thoughts on nails’ newfound importance on the runway, she gushed. “It’s genius. It makes so much more of a statement than plain polish.” Her favorite ten-piece statement so far? CND’s deep bordeaux manis with extended gold smile lines at Jason Wu. “I saved them!”
tags: Carolina Herrera, CND, Deborah Lippmann, Donna Karan, Jason Wu, Karlie Kloss, Nails, Rodarte

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BEAUTY INSIDER
Eyes Like African Sunsets, Backstage At Thakoon
February 14, 2011

There was so much going on backstage at Thakoon, it’s hard to know where to begin. That’s what happens when you combine influences as far-flung as Marie Antoinette and the Masai. But we appreciated the overstimulation in a season that has, thus far, featured fairly tame hair and makeup. “It’s like knitting,” coiffing star Odile Gilbert said as she wove sections of the models’ hair over “wool materials” that had been taken directly from the collection. Prepping tresses with Kérastase Nutritive Nectar Thermique, Gilbert dried hair, slathering it with Kérastase Chroma Riche Fluide for shine before beginning a mixed-medium layering process that resulted in a basketweave beehive of chunky knits. A halo of Kérastase Double Force Controle Ultime Hairspray kept everything in place, as models made their way over to fashion’s favorite colorist, Laurie Foley, who was busy bleaching brows. “I’m here to make them go away,” she said of models’ disappearing arches. “I’m not necessarily a proponent,” she opined of the lightening process, “but it’s a show thing, and a showoff thing. It lets them show off.” The them in question being Gilbert and makeup artist Diane Kendal. And show off Kendal did, with a bright palette of orange, pink, and red eye shadows. “I thought about African sunsets,” Kendal explained, coating lids in NARS Velvet Matte Lip Pencil in Dragon Girl, a sheer red, to hold a mélange of NARS Eyeshadows in place, including Taj Mahal (a bright tangerine), Desire (a hot fuchsia), and Exhibit A (an electric cerise). Kendal laid off lashes and lips to keep the focus on the eye. “It’s fun,” she said of the finished look. And how.
Photo: Luca Cannonieri / GoRunway.com
tags: Diane Kendal, Hair, K�rastase, Makeup, NARS Cosmetics, Odile Gilbert, Thakoon

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BEAUTY INSIDER
Bare-Bones Glitz Backstage At DVF
February 14, 2011

Diane von Furstenberg named her Fall collection American Legends, which made makeup artist James Kaliardos think of glamorous fashion icons like Diana Vreeland and Gloria Vanderbilt. “It’s the kind of woman who always looks super put-together,” Kaliardos explained, but by eschewing foundation backstage, he was out to bring an accessible simplicity to the equation. “It’s like, Speed the plow. We’ve got to get the look on and get to the Met ball.” And what’s the easiest way to get “bare-bones” beauty that still packs some requisite glitz? Slap on a red lip and a subtle smoky eye, of course. Using MAC Cosmetics Keep Your Cool eye shadow—a metallic black pigment—Kaliardos dusted just the outer corners of models’ lids, adding a slightly elongated flick before curling lashes and coating them with mascara. He then turned his attention to brows, which were amply filled in, followed by lips that he lined in MAC’s Lip Pencil in Cherry and topped off with its forthcoming Lipstick in Runaway Red. Et voilà, super-iconic makeup made easy with an effortless, Orlando Pita-styled ponytail thrown in for good measure. Before models headed out onto the runway, Kaliardos had words with us about Fall’s ongoing bleached vs. full brows debate. “Kevyn [Aucoin] bleached everyone’s brows—and it’s a great look. But I think women look more intelligent and powerful with a brow. And that’s my thing. Brows make you look like a predator.” Grrrr.
—Celia Ellenberg
Photo: Luca Cannonieri / GoRunway.com

Perfect Eyeliner Tutorial!

Perfect Eyeliner Tutorial!

Hello Gorgeous | EVENT: Front-row glamour…Styling sessions inspired by London Fashion Week

Hello Gorgeous | EVENT: Front-row glamour…Styling sessions inspired by London Fashion Week

Hello Gorgeous | EVENT: Front-row glamour…Styling sessions inspired by London Fashion Week

Hello Gorgeous | EVENT: Front-row glamour…Styling sessions inspired by London Fashion Week

François NARS + Sephora

Ellis Faas make up expands into Space NK

Twelve months after ELLIS FAAS launched at Liberty in London, the brand is now ready to expand into Nicky Kinnaird's Space NK. Already available in all US stores of Space NK, the internationally renowned brand ELLIS FAAS will be launched in at least 14 of their UK locations including branches in Mayfair, Kensington, Belgravia, Islington, Nottinghill & Knightsbridge (Harvey Nichols) The official Launch Date is February 15th.

As an ELLIS FAAS Ambassador I am offering one on one Make up lessons exclusively dedicated to the brand, Tailor made colour consultation and expert make up application tips.
For further information please contact me at: tanyachianale@gmail.com

For ELLIS FAAS
Contact Thijs FAAS- thijs@ELLISFAAS.com

Mina Carosello Barilla 1967

MAKE UP NOT WAR- ELLIS FAAS & War Child - www.warchild.org.

MAKE UP NOT WAR
and help us to help War Child
Ever since the first ELLIS FAAS products were released, people have been telling us ‘It is such a shame to throw away your beautiful pens once they’re empty.’ Therefore, we have come up with a programme ‘Make Up Not War’ that gives a second life to our pens, unburdens the environment, and last but certainly not least, because it gives us a chance to raise money for a terribly good cause: War Child - www.warchild.org.
We
MAKE UP NOT WAR
and help us to help War Child
We have set up a system to get back as many used pens as possible. Visual artists (locally and internationally well-known sculptors, fashion designers, photographers, industrial designers…) will then be asked to create a unique work of art using the pens. These works will be exhibited and then auctioned off. The proceeds will go directly to War Child. So please help us to help War Child, by returning your used pens. Details can be found on ELLISFAAS.com.
WAR CHILD
In the vision of War Child sound psychosocial conditions for children and youth are prerequisite to being able to create a peaceful society. When children grow up in a safe, stable environment where their rights are not violated, the chances are that they will grow into well-balanced grown-ups. As such they will be able to avoid or resolve conflict situations in the future. Therefore the aid of War Child is aimed at improving the psychosocial wellbeing of children, to bring together groups of children separated by war and to draw attention to problems, needs and rights of children in war-affected areas.
War Child’s goal is the empowerment of children in and from war-affected areas, by means of:
- Psychosocial programmes using creative arts and sports to strengthen the psychological and social development and wellbeing of children;
- Creative arts and sports programmes aimed at uniting children driven apart by war, in order to contribute to a peaceful society;
- Creating public awareness of and generating support for the plight of children in war zones.
For further information, please contact: Thijs Faas - thijs@ELLISFAAS.com

Luminous skin & dreamy eyes this valentine's day

Treat yourself to a tailormade make up session with a professional this Valentine's day.
Most of us wouldn't think twice about visiting our favourite hairdresser to get our precious locks tended to for a special evening, so why not go all the way and treat yourself to luminous skin and dreamy eyes.
Its the perfect gift to yourself or for someone special.
For more information visit www.tanyachianale.com.

I found this absolute gem of a book (which I believe is now out of print) and I wanted to share and possibly brag about it a little with all you make up & fashion connoisseurs. He was the inspiration behind so many of today's world renowned make up artists. His first book was published in 1977, titled Designing Your Face and then followed by Styling Your Face in 1981. Then Vogue Fashion Editor Polly Allen Mellen called him "the most talented make-up artist in the world". In her foreword to this book she describes working with Bandy a constant learning experience as she observed him perform his craft with passion, quality and perfection. He never veered from wanting to transform a face into the most beautiful face ever, concentrating on, studying and experimenting with the stages of change a face undergoes.

The book is divided into fifteen chapters, each chapter is devoted to one facial design, eleven for women and the rest for men. The chapters include The Natural Face, The Glamorous Face (above) The Fantasy Face, The Great American Face, The Evening Face and The Exotic Face.

Here's a slight variation to the way most of us (if not all) apply foundaton: he suggests applying to a cleansed and moisturized face 3 drops of liquid foundation plus two drops of distilled water. Mix in the palm of your hand and massage into the skin with your fingertips, blending downward onto the neck.

Here's a bit of shading advice: With the fingertip place a dot of grey-brown shading cream underneath the bottom edge of the cheekbone directly below the highest frontal point of that cheekbone- usually directly downward from the outside corner of the eye. Touch and press the grey-brown dot backwards underneath the cheekbone to the ear. Make sure there are no lines of demarcation or edges visible when the blending is complete.

And voila' you now have Marlene Dietrich style cheekbones!!  

   

Laura Mercier- Silk Road Spring 2011 Look

I love the Laura Mercier make up brand- I've used it on so many shoots and it never fails to perform and impress. I think their 'how to' step by step make up application techniques are a great way of trying these looks at home.

 The products featured on the model are: Golden sands eye colour on the browbone followed Lavender silk across the lid. Then use regal violet eyeshadow along the lashline and smudge.

Intensify your look by adding black violet kohl eye pencil along the top & bottom lids.

apply liquid eyeliner in gold thread along the lashline

Follow with full blown volume lash building mascara in black

Persian rose cheek colour on the apples of the cheeks

Use potpourri lip pencil then apply pink jewel stickgloss on top

Have fun!