This Beauty Story is from Vogue China’s May 2013 and focuses on a selection of iconic decades of beauty. The photographer is David Dunan, Fashion Editor Ondine Azoulay, Hair by Sebastien Richard, Nails by Trish Lomax and our beautiful model is Kinga.
For the inside cover I started off super natural and just prepped the skin with an oil massage using Nuxe Huile Prodigeuse and minimal makeup with curled lashes, MAC Studio Fix Mascara in Brown, a slick of Chanel Lip Balm and filled in where needed on the brows with MAC Brow Pencil in Fling.
The 1910’s beauty was based on Klimt paintings and the work of Egon Shiele using peaches and oranges on eyes, cheeks and lips. I kept it very painterly using a sable Bobbi Brown Eye Blender Brush to sketch MAC Paint Pot in Soft Ochre and Bobbi Brown Pot Rouge in Cabo Coral on the eyelid then powdering lightly over to set. With the same Bobbi Brown Pot Rouge I used my fingers to apply the cheek and lip colour.
For the 1920’s, make up was strong everything with a natural matte base using Chanel Vitalumiere Foundation. I created rounded dark brows using a Laura Mercier Brow Pencil in Brunette, round shaped eyeshadow with MAC’s Eyeshadow in Cranberry on the entire lid and under the eye with same colour and added a touch of glitter on the centre of the eyelid with MAC Reflects in Blackened Red for that silent film style drama and the iconic Biba images. Finally I finished the eyes with tons of MAC Kohl Pencil in Black Black inside the water line and smudged along above and below the lash line with tons of MAC Haute & Naughty Mascara in Blackest Black. Nothing was used on the cheeks but a I drew a strong bow shape in deepest dark plum on the lips using MAC Lip Pencil in Nightmoth and MAC Cream Sheen Lipstick in Sin.
With the 1950’s beauty I started with a matte full coverage base using the new MAC Mineralize Moisture Foundation and set with Shu Uemura Matte Face Powder. Brows were filled in using Tom Ford’s Brow Sculptor in Taupe with a strong arch and lashes were curled right into the corners for that 50’s feline shape and coated with MAC Haute & Naughty Mascara in Blackest Black . Echoing the ice cream colour shades featuring in the clothes I used two tones of Illamasqua Cream Pigments in Dab, a soft lavender, and Bedaub, a pastel mint green. Liquid liner added a feline flick using MAC’s Fluidline in Black Track and I finished off with pink rosy cheeks using Bobbi Brown Pot Rouge in Powder Pink and a deep pink lip using Shiseido Perfect Rouge in Fantasia. This is kitsch and beautiful Americana at it’s best and made me think of Cindy Sherman and Diane Arbus women.
With the 1960’s makeup I wanted to play with texture as well as the iconic graphic styles inspired by portraits of Twiggy and Jean Shrimpton so I went to Silk Society in Soho which stocks some beautiful fabrics and bought some vintage French lace to use on the eyelids. Skin was kept clean and fresh with Chanel Vitalumiere Aqua and lashes were given extra volume with Shu Uemura False Lashes in Black Slant. A final touch of Estee Lauder Pure Colour in Vanilla Truffle on the lips completed the look with that classic 60’s nude mouth.
For the 1970’s Jackie Collins and Bianca Jagger were the muses for this Hollywood Studio 54 look and I created matte skin as a base and then blown out smoky brown eyes using Tom Ford Cream Colour in Platinum with a frosted highlight using MAC Glitter Pigment in Silver in the centre of the lid. Lashes were intensely curled and multiple coats of Tom Ford Macara in Raven gave separated clumpy lashes which I pared with red, almost dripping, glossy lips with MAC Lipstick in Ruby Woo layered with MAC Lipglass in Clear.
With the 1990’s this was all about minimal, nude and gloss looking at early images of Kate Moss and Jil Sander. With a hint of a tobacco brown colour using MAC Cream Colour Base in Hush layered under the new Dior Eye Gloss and MAC Lipglass in Clear on the eye. Perfect for the purists amongst us the base only needed a light tinted moisturiser such as DR Jart BB Cream and a faint contour on the cheek using Tom Ford’s Shade and Illuminate Palette.