Beauty Intern

thelifeofawildchild: Josephine and Daphne

Sun, 31 Mar 2013 07:37:17 -0400

thelifeofawildchild:

Josephine and Daphne

thebeautymodel: Luisa Bianchin by Tisch for Vogue Japan. She...

Fri, 08 Mar 2013 13:26:39 -0500

thebeautymodel:

Luisa Bianchin by Tisch for Vogue Japan.

She looks a lot like Daphne Groeneveld here.

Photo

Tue, 19 Feb 2013 09:28:54 -0500

Photo

Mon, 18 Feb 2013 08:01:52 -0500

Photo

Tue, 05 Feb 2013 08:59:13 -0500

theniftyfifties: Joanne Woodward in ‘The Three Faces of Eve’,...

Tue, 08 Jan 2013 00:01:12 -0500

theniftyfifties:

Joanne Woodward in ‘The Three Faces of Eve’, 1957.

victoriassecretsupermodels: Karlie Kloss HQ VSFS 2012

Thu, 08 Nov 2012 02:59:18 -0500

victoriassecretsupermodels:

Karlie Kloss HQ

VSFS 2012

Photo

Sun, 07 Oct 2012 01:53:07 -0400

evachen212: the finished hair, makeup, and nail look at Honor....

Sat, 08 Sep 2012 10:32:05 -0400

evachen212:

the finished hair, makeup, and nail look at Honor. so many lovely things about this look, including the white nails (by Deborah Lippmann). how to keep white nails from looking like Wite-Out? “apply a shiny top coat or a softer white over bright white to soften it a bit,” advises Deborah Lippmann

modelsofcolor: Xiao Wen Ju in “Boho Chic” editorial...

Wed, 05 Sep 2012 16:15:47 -0400

modelsofcolor:

Xiao Wen Ju in “Boho Chic” editorial photographed by David Slijper for Vogue China May 2012

pretaportre: Karlie Kloss, Liu Wen, Arizona Muse, and Joan...

Fri, 17 Aug 2012 14:16:13 -0400

pretaportre:

Karlie Kloss, Liu Wen, Arizona Muse, and Joan Smalls featured in ‘Vogue 120’ photographed by Norman Jean Roy for US Vogue September 2012.

myselfinwonderland: Barbara Palvin Flawless.

Sun, 22 Jul 2012 12:38:18 -0400

myselfinwonderland:

Barbara Palvin

Flawless.

beautylish: Check out Humanæ, an artistic portraiture project...

Tue, 17 Jul 2012 12:06:46 -0400

beautylish:

Check out Humanæ, an artistic portraiture project that gives every skin tone its own Pantone color code!

highqualityfashion: Versace FW 12 details

Tue, 03 Jul 2012 13:06:26 -0400

highqualityfashion:

Versace FW 12 details

wgsn: Got to love @Versace’s return to the couture catwalk...

Tue, 03 Jul 2012 05:34:03 -0400

wgsn:

Got to love @Versace’s return to the couture catwalk earlier this week. Decked out with prints inspired by Tarot cards, it was a peek-a-boo-fuelled collection of hourglass silhouettes and intricate spliced or perforated leathers coupled with intricate lacing and beading techniques.

indieventurer: Stache MagazineOctober 2011 IssuePhotography:...

Sun, 24 Jun 2012 11:00:46 -0400

indieventurer:

Stache Magazine
October 2011 Issue
Photography: Aaron Articulo
MUA: Isabel Agoncillo
Model: Erika Yuseco

s-k-e-t-c-h-s: Marcela Gutierrez

Mon, 11 Jun 2012 09:30:09 -0400

s-k-e-t-c-h-s:

Marcela Gutierrez

Lovely.

Sun, 03 Jun 2012 08:02:03 -0400

Lovely.

Afternoon Snooze Button: The Right Look: Lightening Dark Skin For Beauty, Money and Cancer

Sun, 03 Jun 2012 00:19:29 -0400

Afternoon Snooze Button: The Right Look: Lightening Dark Skin For Beauty, Money and Cancer:

jensenjaundice:

Until today I’d assumed “whitewashing” (the practice of bleaching one’s skin to alter its color to a lighter and thus more appealing tone) had all but died in most parts of the modern world.

Holy fuck was I wrong.

This year, British Vogue’s November 2011 cover features…

The Face Painter

Tue, 29 May 2012 12:21:54 -0400

The Face Painter:

THE FACE PAINTER

by Ian Parker

MARCH 17, 2003

Pat McGrath, a British makeup artist—the most powerful black woman in fashion who is not a model (and not an Irish man, as some of her early clients supposed)—flew to Paris in mid-January with three assistants and fifteen seventy-pound duffelbags that she takes everywhere. (One is marked “Everyday Bag”; another says “Lips”; and six bags hold scores of large-format art books—Fellini, Otto Dix, André Kertész, “Ritual Art of India”). She had been booked to make up the runway models for the couture shows of Christian Dior, Yohji Yamamoto, and Valentino. On the day she arrived, she was driven to a preparatory meeting with John Galliano, to learn about the clothes he had designed for Christian Dior. “On the way, in the van, I’m always paranoid that I’m not going to be able to think of something,” McGrath said. “And then I get there, and, you know, something always happens, because the clothes are so beautiful. It stops being ‘What on earth can I do?’—because they’ve already brought you the world.” She was dressed all in black: a black untucked shirt worn over black pants, and a black headband pulling back shoulder-length hair. Her skin had the sheen of thorough moisturization, but she was wearing no lipstick.

In the Dior offices, Galliano described his collection, using references to the Peking Opera, Siouxsie and the Banshees, and the late Queen Mother. He showed McGrath scrapbooks filled with images collected on a recent trip to the Far East. Then McGrath and her assistants huddled in a corner and, in a flurry of productivity, began imagining makeup ideas, or “looks”—putting them first on paper, and then on the faces of four borrowed models. The first look was done in forty minutes. McGrath photographed it, and an assistant drew it and annotated it for her archives.

While McGrath is known for bringing a light touch to photo shoots, and for avoiding what she is known to call the “suède face” of heavy makeup (she once made Oprah Winfrey weep with happiness by avoiding it), her runway style is more elaborate. For Dior, she returned three times over three days, to produce about eighty looks. These included Chinese characters written on a model’s face; an op-art felt target stuck to the center of a model’s forehead; feather eyelashes; white makeup reaching from the chin to halfway up the cheek, directly inspired by a photograph of a half-made-up geisha in one of McGrath’s bags; eyes covered with black masking tape (with pinpricks to allow the model to see); a mask of sequins, each placed by hand (“In a way, you’re almost relieved if something like that isn’t used. You’re thinking, Oh, my God, it’s going to take forever to do”). Galliano, pleased, looked at the Polaroids—and said “Yes” and “No” until McGrath was left with about ten faces. The felt target and the feather eyelashes had been accepted, but there would be no sequins this time, and no masking tape.

The Dior collection was shown in a high-roofed tent on the edge of the Bois de Boulogne, in Paris. Inside, two hours before the start of the show, a mist of gold glitter hung in the air between the model Stella Tennant, whose face was already geisha-white from mid-forehead to chin, and McGrath, who was painting gold on Tennant’s lips. Alek Wek, the Sudanese-born model, was being painted blue and pink, and was wearing the white feather eyelashes. She moved her head, testing. “I can see straight ahead,” she said. “But I can’t see to the side. And I can’t look down.” McGrath walked from model to model, talking to her assistants, who were working from Polaroids taped onto the mirrors. “Very good, perfection. Straighten it out. Take the mouth off, put the white on with your fingers. The brow is showing.”

At the place backstage where the models would step onto the runway, there was a handwritten sign with stage directions. “Hard-Core Romance,” it read. “Intense! Intense! Intense!” But around McGrath the mood was closer to a school field trip taken in the care of a permissive history teacher. McGrath saw a model with smudged lipstick, and, mock-scolding, said, “Did you just eat?” (“No.”) “Did you drink?” (“No.”) “Did you have a cigarette?” (“No.”) “Well, you did something.”

When the show finally started, more than an hour late, McGrath stood in a black cloth apron, a jar of gold glitter in its pocket. The models, wearing platform shoes that made them seven feet tall, and looking as if they had been overwhelmed by the Queen Mother’s curtains, passed McGrath for a final check (she could barely reach their faces), and then passed Galliano, before stepping onto the runway. McGrath lost her composure only for a moment, when the Italian model Mariacarla Boscono accidentally hit her quite hard over the head with a parasol. When the show ended, an hour later, Galliano took an extravagant curtain call, and McGrath said, “Genius, genius,” and was out of the tent immediately, into the van for the next show, and within a few minutes was at the Théâtre National de Chaillot, among men with tans and leather suits, deep in conversation with the designer Valentino Garavani about shades of red lipstick.