"The most beautiful makeup for a woman is passion, but cosmetics are easier to buy."
—Yves Saint Laurent
Announcements
Links have been updated, below.
Backtrack: Most Wanted: Fahrenheit 451, Perfume Notes: Tauer Vetiver Dance, The Beauty Primer: Canvas (Lashline), Perfume Notes: Rochas Moustache, Lookbook: Purple Haze, Consumer Diaries: October 2009
Contents
Favored
Olga's Gallery
Jargol
The Non-Blonde
Perfume Shrine
Refinery 29 ebay blog
Michelle Phan
Grain de Musc
Browns UK
ellastica
I Smell Therefore I Am
La Garçonne Temptalia Boomtown Boudoir
Bygone Fashion
Smitten Kitchen
Bois de Jasmin The Emperor's Old Clothes
The Straight Dope
MissChievous
Mr. Guerlain
The Sartorialist
The Foodinista
Jojoba's Beauty Reviews
A Perfect Guide: Fashion Squad
The Scented Salamander Jak and Jil
Nathan Branch
Sea of Shoes
Garance Doré
Sakecat's Scent Project
Now Smell This
Frou Frou Fashionista
Scent Hive
Grayburn
NARS
Subscribe to
Posts [Atom]
The everyday world itself must be shown to be subliminally spiritual. It is an old idea: The secular world is secretly full of saints who don't even know they are saints. It is they who keep God from destroying it altogether.
~Donald Kuspit, A Critical History of 20th Century Art
The God of Small Things is often compared unfavorably to works like Midnight’s Children, an unjust comparison considering that, beyond superficial qualifications (both novels about recent Indian history) the two works share about as much in common as the writers themselves (one a Keralan Christian and the other a Muslim from Mumbai by birth, in a country where regional, ethnic, and religious differences mean everything). Whereas Rushdie writes veritable tapestries on a large scale, detailing the exploits of multiple generations and entire nations in an ongoing saga, The God of Small Things is a miniature of a scene set in a specific time and place, drawn in painstaking and exquisite detail that yields gruesome facets upon closer examination.At the surface, The God of Small Things is a novel about transgressive love within a repressive society: upper-caste Indian woman falls in love with a pariah, the two embark on a torrid affair, and eventually both suffer brutal deaths as punishment for flaunting the mores of their community. The main characters are all outcasts in their own way: Ammu, who—with "the infinite tenderness of motherhood and the reckless rage of a suicide bomber"—defies the restrictions placed upon her as a high-caste Indian woman; the twins Estha and Rahel, born of Ammu’s “disgraceful” first marriage, like to play “perverse” word games and ask inconvenient questions as precocious children are wont to do; and Velutha, who with the native dignity of a prince totally incongruous with his status as an Untouchable, refuses to accept his inferior lot in life. Their defiance is passive, not exemplified an any outright act of rebellion: their real "crime" is that they do not conform to the demands of the larger society.
To a reader within modern Western culture, where individuality and the "pursuit of happiness" take precedence over all, it is all too easy to categorically cast the the effectors of these mores as villains, or deride the entire society for being inhumanly repressive (though it is significant to note that individual freedom and rights are a new concept even in the West). However, it is important to note that Indian society relies on its rigid class divisions to maintain order. These divisions (the "Big Things," as Roy calls them) stand in contrast to the titular "Small Things"—a ragged beggar, spiders and mice and cockroaches, misbehaving children—that represent the ambient noise of chaos that pervades even the most orderly lives below the surface. As such, an individual flouting the order of those class divisions amounts to an incarnation of that chaos, threatening to destroy the framework of the whole society.
In order to protect that society, chaos is destined for destruction: beggars meet untimely deaths, vermin are exterminated, and children are disciplined away from mischief and their small games. In that light, the punishment suffered by Ammu and Velutha may be harsh, but it is not totally arbitrary: as oppressive as their lives are—especially Velutha’s—acceptance and even approval is readily available for them if they conform to the roles they are supposed to play. As they refused to do so, their punishment is justified.
This conception of order and justice is further reinforced by the inclusion of a fragment from the Mahabharata, acted out in a traditional Kathakali dance performance transposed from the grandeur of ancient Vedic myth to the all-too prosaic squalor of modern India. Roy's version of the tale focuses not on the hero Arjuna, but his half-brother, rival and antagonist Karna. Reflecting their respective destinies within the saga, Arjuna has been secure in his princely status all throughout his life, while Karna is rejected and demoted to a lower caste simply because of his illegitimate birth. Karna's death at Arjuna's hands is considered justified, not because Karna "deserves" defeat—for Karna is kind, noble, courageous, and generous to a fault—but simply because victory cannot be legitimately his due to his position as an antagonist, at the same time that Arjuna triumphs because he is bound to, not because he merits that victory any more than his enemy does.
When the reader recognizes Roy's clear parallels between this myth and the characters of The God of Small Things, the message of the novel becomes a bit clearer. Despite their shaky place in society, Ammu, Velutha, and the twins are beautiful, full of life, and pure in their desires and motives, in contrast to the drab and bitter characters that populate the rest of their world—very much like Karna—which imbues their deaths and destruction with true pathos. And like Karna's story, Velutha's and Ammu's fate was not a case of the weak being persecuted by the strong (again, a modern Western concept of asymmetrical power relations) but a function of positions and the society they live in. It is a tragic eventuality, in the classical Greek sense of the word: an outcome brimming with sadness and regret, but logically inevitable. Ammu and Velutha's trysts—an open defiance of the "Love Laws," in Roy's highly idiosyncratic language—achive nothing but the destruction of several lives. As with all true tragedies, there is a sense of stasis... or rather, a sense of degeneration, as if nothing ever moves and nothing ever changes, but only decays and falls apart.
Yet, the triumph of tragedy is the movement in stasis, however inapparent. Constant references are made to the titular "Small Things," which embody not only chaos but vulnerability: to insects, to mice and spiders and children, the tender parts of humans and animals... in short, insignificant things that no one pays attention to, are crushed inadvertently, without anyone to care that they are gone. Roy, however, has a keen eye and a deft hand for evoking in writing the tenderness and the odd beauty present in the small details often ignored. Such objects are rooted in nature, and therefore associated with the cyclic destruction and renewal it symbolizes, and it is no coincidence that the triad themes of birth, perpetuation, and destruction also play a central part in Indian lore. A return to one's starting point is not futile: it is the constant act of returning and going that is meaningful.
In this light, both nonconformity and the destruction that follows play a crucial role in the universal scheme of things. Destruction and entropy is necessary to reinforce order and laws that exist (for if transgression never occurred, what would be the use for laws?) or even to create new values entirely. It is no coincidence that Roy places the two pivotal love scenes of the novel at the very end, to punctuate the death and spiritual decay that precedes, for to Roy, degeneration and chaos is the promise of life flickering in the ruins. The god of small things is the god of the overlooked, of the small marvels present even in decay and death, and the guardian of paradoxical life both exquisitely fragile and tenaciously persistent.
The seeming simplicity of this one-shouldered brown dress from Chloé provides a perfect backdrop to any number of small treasures you wish to swathe yourself with. The cut is bold, but the earthy tone, the rough cool texture of the fabric, and the simplicity of its lines all contribute to a decidedly modest, even ascetic effect that all but the most delicately searching glances will gloss over.
Too often, verisimilitude is mistaken for life, forgetting that "lifelike" is the "likeness" or mimicry of another life form, as seen from the outside. It is not life itself, which must come from within. These cascades of yellow sapphires, designed by Ten Thousand Things, will echo the smallest of your own movements, mimicking the dance of light through tree branches, or of dust motes refracting golden afternoon light. Of course, a bangle (or three, or a full row of them) or an anklet could also be a good choice: really, with a dress as simple as the one shown above, you could pile it on, so long as each piece on its own does not overwhelm.
The key to preserving something as fragile as a sand collar—made of the miniscule eggs of moon snails, tinier even than the grains of sand they are cemented with—is hiding it, shielding it from the gaze of all but those who would not vulgarize its delicate beauty. You would have to select very carefully the one who would be privileged to a secret like this, but until the right partner comes along, you can have the enjoyment of Strumpet and Pink's lingerie—designed for the wearer and not the voyeur—all to your own self. Oyster-Catcher is threaded with pearls that seem to hold the diaphanous panels of kelp-colored textured silk together.
"Her shoulders in her sleeveless sari blouse shone as though they had been polished with a high-wax shoulder polish" (44). Sometimes, statement makeup isn't necessary: subtle adjustments can bring to the fore beauty that was already there, only hidden. NARS Multiple Stick in Copacabana brings a subtle sheen to light skin, capturing and holding light where it is needed in order to bring contours to life.
And lastly, for when you want something to ward off the creeping chills of a summer night—for the cut of the dress is rather bare— Loro Piana's ombre stole will flow around your shoulders, neck, hips... wherever you choose to drape it.
Labels: arundhati roy, chloe, loro piana, most wanted, nars, strumpet and pink, ten thousand things
10/25/2009 [4]
(Apologies for backdating this post; I've been recovering from a nasty flu.)
I remember leafing through a Paula Begoun book when I was about ten, and reading the following sentence: "In general, the fewer products you use on your skin the better for your skin." I'm not convinced this holds true for everyone, but for me it seems more or less accurate: while complicated skincare routines don't do my skin any harm, they don't seem to do any good either. My skin is pale and freckles rapidly in the sun, but it's not sensitive; for example, it barely responds to chemical exfoliants that would burn Dain's skin. It seems that no matter what I put on my skin, I always have the same issues with it: tightness after cleansing, clogged pores, minor breakouts, shininess. As a result, while I might dabble in eye creams or toners (I've become a big fan of DHC's Acerola lotion), I generally stick to the basics: cleanser, sunscreen, and moisturizer.
I grew up using Cetaphil, but I find it leaves behind eye makeup and a slimy film on the face, whereas DHC Deep Cleansing Oil removes almost all makeup and leaves no residue at all. Sorry to harp, but it truly is a great product. I've been wearing sunscreen almost daily since high school, and I've yet to find a sunscreen that I really like, but Olay's sensitive skin formula is odorless, relatively non-greasy, and cheap. Lastly, as I get older I find I need to moisturize my face after showering: DHC's Q10 cream is my current favourite -- light yet rich, and a little goes a long way.
I grew up using Cetaphil, but I find it leaves behind eye makeup and a slimy film on the face, whereas DHC Deep Cleansing Oil removes almost all makeup and leaves no residue at all. Sorry to harp, but it truly is a great product. I've been wearing sunscreen almost daily since high school, and I've yet to find a sunscreen that I really like, but Olay's sensitive skin formula is odorless, relatively non-greasy, and cheap. Lastly, as I get older I find I need to moisturize my face after showering: DHC's Q10 cream is my current favourite -- light yet rich, and a little goes a long way.
Aside from the DHC products, I tend to stick to cheap drugstore products for skincare: Glysomed hand cream is readily available and absorbs quickly. I scatter lip balms around my apartment and in my bags, which means I tend to buy cheap ones, as impulse purchases. I like fairly thick, waxy stick balms, as the thinner kind don't seem to help with my perennially chapped lips: The Body Shop's Cocoa Butter lip balm might be my favourite.
Lastly, although it's an indulgence, I love fancy body butters: my skin gets very tight and uncomfortable after showering, particularly in winter, and scented moisturizers are a wonderful, fleeting way to experience scents that would wear out their welcome as perfumes. My current tub is from the L'Occitane spinoff brand Le Couvent des Minimes: a sweet, fruity take on orange blossom, perfect for a fifteen-minute acquaintance.
Labels: beauty notes, dhc, glysomed, le couvent des minimes, olay, the body shop
10/21/2009 [0]
For the longest time, I was under the impression that I had the stereotypical "dry" skin, yet, sometimes my skin takes on the characteristics of stereotypically oily skin, as I often get oil slicks and clogged pores on my cheekbones and nose, even as my skin tightens after a wash and chaps to rawness in winter. "Dehydrated" better describes the state of my skin, where it is constantly thirsting for water but not necessarily oil, and therefore the most important part of caring for my skin is to make sure that it gets the hydration it needs.
Cleansing is the first and most crucial step of any skincare regime. For a time I used DHC's Deep Cleansing Oil, which is second-to-none when it comes to removing makeup, and it's always marvelous to see an oily film on your face wash off. It also seemed to improve the texture of my skin; however, it seemed to make clogged pores worse, so I always use soap afterwards to rinse away any remaining residue, or skip the oil entirely on days when I'm not wearing makeup. Happy Bath Lavender soap is good, but during winter, I use the classic Dove soap, which moisturizes slightly. A wipe with a muslin cloth exfoliates and cleanses, and feels purifying for a nice finish to the cleansing routine.
Toners are a necessity in my routine, to provide my thirsting skin with the extra moisture it needs. I'm currently using The Face Shop's Arsainte Eco-Therapy Extreme Moisture toner, which is pleasant, though not indispensable: in my experience, all toners are pretty much similar, and are only really differentiated by other factors such as scent, packaging (i.e., how pretty it looks on your dresser table) and price.
Otherwise, I favor common drugstore brands, partly because their wide distribution means I'll never have to worry about running out. The moisturizer of my childhood was the ubiquitous Johnson&Johnson's Baby, but now most moisturizers are too emulsive and oily for my skin, so I have to be pickier about which products I use. Vichy Aqualia Thermale Concentré Hydratant is the rare product that hits the perfect pitch: its texture is not so much creamy (usually a bad sign for me) as gel-like, and soaks into parched skin instantly.
I can tolerate thick moisturizers better when it turns cold, and body lotion becomes a necessity. I used The Body Shop's Moroccan Rose Body Butter briefly, but after a while the smell of it became too strong, to the point of giving me headaches. Thereafter, I began to really appreciate non-scented or minimally scented formulae for lotions. I recently got a tube of Nivea Soft, which penetrates deeply to moisturize dry hands, legs, and feet. It's still a bit too rich to use on the face, but I have a feeling it will serve me well come winter. Atrix Strong Protection Cream (not pictured) also works well.
For the bleakest, darkest depths of winter, however, my hands, feet, and lips will need something a bit richer. Nivea Soft may not suffice for chapped hands in January, so I will probably revert to Nivea cream in the classic blue tin, or to Neutrogena's famous hand cream (both companies also make excellent lip balms). The formulae are thick and take forever to absorb, but in winter, I can't afford to be picky: the only thing that matters is that the products leave my hands soft and moist and happy, which they do.
Yet, while dryness can be moisturized away to some degree, there's little one can do about oil slicks. While this does not fall under the label of "skincare," strictly speaking, I use Innisfree Mint No Sebum powder (basically a scented cornstarch and talc base) to control shine.
All products aside, however, the best I can do for my skin is to drink plenty of water to hydrate it from the inside), eat lots of fruits and vegetables (well, there are any number of reasons I should eat fruit and vegetables, including benefits to the skin), to avoid salt and alcohol (which puffs my eyes up), and get plenty of exercise to get blood flowing to the surface capillaries that nourish the skin. I should probably also wear sunscreen to protect against external damage, but I dislike it's texture, not to mention that most formulae aggravate my oil slicks and even contribute to breakouts. The skin's needs are surprisingly simple. It's odd how difficult they are to meet at times.
Labels: atrix, beauty notes, dhc, neutrogena, nivea, the body shop, the face shop, vichy
10/21/2009 [1]
I am positively avid when it comes to the subject of skincare; I could elaborate on it endlessly, and though I have a ready stable of trusted favorites, from the most humble to the fairly extravagant, it doesn't stop me from yearning after new horizons. The ironies don't escape me—I have excellent skin that isn't picky, save for a few sensitivities (alpha hydroxies, vitamin C, whitening agents, most physical scrubs), and 95% of these products are, chemically speaking, not dissimilar from each other—but still, there's always room for the next review. For whatever reason, I am dedicated to skincare in a way that equals no passions within this narrow and superficial realm.
The usual injunctions—no cigarettes, no late nights, no alcohol, no caffeine, no alcohol—I don't observe, though I do take in massive amounts of water. Like most, my skin varies with the season and humidity, from mildly shiny to so dry and fragile it hurts to the touch, but mostly it's normal to dry. Wrinkles are still a concern for a latter day, and breakouts are rare, but neither can truly be addressed by skincare in the first place. So my efforts are largely focussed on slathering on the richest balms, creams, lotions, and serums I can stand, depending on the temperament of my skin. That seems to keep my skin happy.
Here are the products, as of present day, that I currently favor.
CLEANSING
The ubiquity of cleansing oils in Korean drugstores makes me question the supremacy of DHC Deep Cleansing Oil, but for the moment, if quick and thorough makeup removal is required, I reach for this. It's easy to use, especially when skincare is the last concern on your mind, at least you're not going to bed with all that gunk on your face.
My sensitivities limit what I can use in terms of exfoliation. Chemicals are almost all verboten, though I can tolerate lactic acid, though probably not at effective concentrations. Physical scrubs abrade the hell out of my skin; the only exception seems to be Primavera Refining Exfoliating Cleanser, as it respects delicate skin.
MOISTURE
I've given up on finding the one true moisturizer—I always need hydration, but the amount varies too much over the year—but I've certainly discovered quite a few gems that way. The lightest of these, appropriate for even the most enervating humidity, is Jurlique Herbal Recovery Gel; it perks up listless, overheated skin like a multivitamin. For transition phases, when my skin is essentially normal but is on its way to serious dehydration, I've gone through several tubes of Better Botanicals Dandelion Moisturizer—inexpensive, with an elegant, light texture that's surprisingly effective for a lotion. I am also fond of the frankincense-rich Daybreak Only Face Feed, a blend of highly nutritive oils, which, at the low-quantity used, makes a lovely light-but-protective layer over the Jurlique. The richest (and most expensive) cream in my arsenal, NARS Potent EFA Cream, in its airtight, contamination-defying space-age jar; salves the most wind-whipped, fragile, superdry skin.
SUN PROTECTION
My favorite sunscreen is probably Shiseido Sun Protection Stick Foundation SPF 35 PA++, because in the translucent version, it behaves more like a foundation primer than a nasty, slimy-textured moisturizer. But I'll admit I usually forget to wear it.
WHAT'S NEXT?
Labels: beauty notes, better botanicals, daybreak lavender farms, decleor, dhc, jurlique, primavera, shiseido, skin, victoria soap company
10/21/2009 [0]
I have a couple of common skin complaints - slightly oily skin, dark undereyes - but the main thrust of my skincare routine is preventing and soothing skin irritation. I have extremely sensitive skin that will not tolerate a good number of fairly common skincare and cosmetics ingredients. Here's a list of my current skin sensitivities:
- silica
- kaolin
- benzoyl peroxide
- sulfa products
- carmine (in certain eyeshadows)
- witch hazel
- fragrance
Additionally, my skin doesn't tolerate abrasives, heat, and extreme cold and, when I'm really stressed, gets irritated by exercise. Any of the above irritants can cause my skin to break out into a bright red, painful rash. Despite this, I generally enjoy good skin due to spending a lot of time and money to figure out what works and what doesn't. The following products work to help me maintain good skin and prevent painful irritation.
TREATMENT
The sensitivities I've listed are all classic symptoms of rosacea. Though I haven't been diagnosed with it, I've been told my skin is in a state of pre-rosacea (similar to being pre-diabetic - onset of disease can occur in the absence of preventative health measures). As such, I use Finacea to prevent the full onset of rosacea. Finacea works as an anti-inflammatory agent to keep skin calm and is only available by prescription.
Bizarrely enough, I can tolerate prescription-strength retinoids with ease. I've used Tazorac for years, and it is Tazorac - not Finacea - that I credit for my good skin. Tazorac gives my skin an even tone and texture, increases vibrancy, and inhibits some oil production. The effect it has is subtle. No bells, no whistles, simply good skin. If I go off it for a few days, I always see an immediate effect the next time I use it - my skin will be brighter, clearer, and have a more even texture.
I get puffy eyes if I don't get enough sleep or drink too much liquid right before bed. MAC Fast Response Eye Cream works fairly well to depuff the eyes, better than anything else I've tried. What I particularly like about the product is that it dries quickly - ten seconds and I can apply my makeup over it. It also deposits a really nice, smooth texture, making eye makeup application a snap.
PREVENTION
Having extremely fair skin, sunscreen isn't an option for me. This is really no problem. I'm so conscientious, I've worn sunscreen every day since I was fifteen. (Vain, too, but it's the conscientiousness that enabled such persistence.) Olay Complete Defense Daily UV Facial Moisturizer for Sensitive Skin, SPF 30 is hands down the best facial sunscreen I've tried. It's the single formula specifically formulated for skin that hasn't pilled on me, with or without makeup, and it's extemely gentle. It has such a smooth texture on the skin I've never had trouble applying makeup over it, although I generally use a primer anyway. A word of caution: Be sure to go for the sensitive skin formulation, as I've found that the regular version pills.
Although I mostly keep redness and irritation at bay, I find that using products containing squalene/squalane really work to help keep my skin calm. Derived from vegetable oils, including olive oil, squalene and squalane are very light, emollient oils that moisturize and sooth my skin. With squalane as one of the main ingredients, Boots Expert Anti-Redness Serum is one of the best products I've found to use. The squalane essentially works as a lightweight barrier for my skin, keeping the moisture in and harsh irritants out. As with Tazarac, should I go without this for a few days, I will see an immediate improvement in my skin's tone and clarity the next time I use it. This works well not only as a day-to-day product, but also on those occasions when my skin is aggravated. As soon as I use this product, my skin immediately feels calmer and less painful, and with the squalane barrier in place, heals much faster.
Never one to leave an inch of skin unprotected, my lip balm of choice is Banana Boat Sport Performance Sunscreen Lip Balm SPF 50. The texture of this lip balm is fairly standard - moderately emollient and sheer with a little bit of weight. I'm a fan of this particular lip balm because it blocks both UVA and UVB rays, a feat not often accomplished in a drugstore lip balm. I also appreciate how sheer it is, having found other comparable lip balms quite heavy and occlusive.
FUNDAMENTALS
Though it's the fundamentals that can make or break a good skincare routine, I am much more relaxed about them than I am other, more specific products. I've found that there are a variety of very good, basic skincare products that don't break the bank and generally work just as well as any of the others in the bunch.
More important than any particular cleanser is the method of cleaning. If you slap cleanser on just to immediately take it off, it's not going to do the job, regardless of whether you use Shu Uemura or Cetaphil. If, however, you take your time and spend a good thirty seconds minimum rubbing or scrubbing away, you will reap the benefits of judicious cleansing, regardless of cleanser (excepting the very worst). With that in mind, I usually have a couple of very basic, decent cleansers on hand, alternating out Juice Organics Brightening Cleanser and Neutrogena Fresh Foaming Cleanser . Both cleansers do the job, cleaning without stripping and leaving no makeup on my face, though sometimes I use a separate eye makeup remover for all the mascara I wear. Neither product has irritated my skin, and despite the claim of one to be "organic," I don't find the Juice Organics cleanser to be any gentler or less effective than the Neutrogena.
I am just as casual about moisturizers as I am cleansers. With all the very specific products I use, my treatment and prevention needs are fulfilled. All I really need moisturizers to do is moisturize without irritating. For that reason, I have the very gentle, very basic La Roche-Posay Toleriane Soothing Protective Care and Neutrogena Oil-Free Moisture, Sensitive Skin on rotation. In terms of hydration, the two are nearly identical products. Both deliver light, gentle hydration and, more than anything, serve as yet another barrier to protect my skin. The difference is in quality of formulation. The Neutrogena moisturizer very obviously contains more fillers than La Roche-Posay, feeling less substantive on the skin. Regardless, it's still a good, basic formulation for the summer, leaving Toleriane to provide slightly richer hydration and protection in the winter.
Labels: banana boat, beauty notes, boots, la roche-posay, mac, neutrogena, skin
10/21/2009 [1]
In truth, this was intended to be a single post with base and brows, as these are all fundamentals, unmakeup for those with less than stellar luck in the genetic stakes—but as ever, the verbiage piled up. Whether her look is natural or dramatic, constant or constantly changing, a woman who needs mascara and undereye concealer will wear them every day. The all-important principle behind unmakeup, I cannot stress this too many times, must always be observed: no one should be able to tell you're wearing the stuff. It seems obvious enough, and yet you see more women with pancake makeup and clumpy, "false-lash" mascara and overtweezed brows than an ill-chosen red lipstick. So let me reiterate. No one should be able to tell you're wearing the stuff. Otherwise, you defeat its purpose, by calling attention to exactly what is lacking.
Over-application of mascara is an especially pernicious breed. By this, I do not mean clumpy, spider lashes—everyone knows this is not an attractive look. Even if your technique may indeed boast a perfection at the professional level, each lash delicately and evenly coated, both lush and separated, mascara should never be obvious (at left, the infamous L'Oréal Telescopic ad where Penelope Cruz was caught in falsies). Mascara is not a vehicle of personal expression; it's subterfuge. Like good prose, it's actually quite difficult to come off as real and natural, which is why the wearer soon grows indulgent about a surfeit of mascara. "But," you say, "I have the thinnest, sparsest, shortest, straightest lashes EVER!" Well, so do I. Mine will never approximate rhapsodic adjectives like "long" or "lush", but I've become reconciled to subtle enhancement. More mascara simply looks like—more mascara—not more lashes. Lash extensions come with too many caveats: costly, labor intensive, fragile, and less impressive on insubstantial lashes. And false lashes are certainly fabulous, in the way that Pamela Anderson's breasts are fabulous; as the joke goes, even God looks down and mutters, "I didn't make those." Still, mascara is an essential for most; it certainly is for me. More women are likely to wear mascara than eyeshadow, and if you have pale lashes, it makes a huge difference. For all that subtle enhancement is so... subtle, mascara application demands a precise and exacting ritual, though it passes into the realm of habit sooner than you'd think.
- choose a mascara suited to your needs If you are not entirely confident what exactly your "needs" are, then opt simply for a natural look. Two good places to start, both low and high-end, are Shu Uemura Basic and Maybelline Full & Soft.
- black mascara works for most If you are really so fair, or dislike the appearance of makeup, that black mascara looks harsh, then wear brown, instead. Colored mascaras seem largely gimmicky to me; the lone exception being plum, for green or blue eyes.
- mascara should be the last step in your eye makeup Often, you will find that eyeshadow needs mascara to look "complete", sometimes reinforced by eyeliner. But by all means, apply mascara last. It might smudge, so be careful, but better than lashes dusted over with power and shimmers.
- start with curling your lashes Especially if your lashes are straight. Mascara will soften the curl (there are a few exceptions), but this helps open up the eye and lend mascara more impact.
- wipe the wand of excess gunk Not all wands are easily cleaned (the newer, flexible, rubbery bristles, for example), but this reduces the incidence of clumping drastically. Rather then soft facial tissue, a less fibrous napkin, or even paper, is best for the job.
- apply from base to the tips This seems obvious enough, since you wouldn't sweep mascara from the tips to the base. Plant the wand as close to the base of the lashline as possible, wiggle the wand to concentrate pigment, before brushing through to the tips.
- get every lash It is not necessary to apply mascara to the bottom lashes, but getting those teeny, tiny lashes in the inner and outer corners adds, again, to the impact of your mascara. Use the tip of the brush, if it's a tight fit, or switch to a smaller brush.
- tightline An extra step, but it defines and thickens the lashline better than any mascara in the world.
There's much debate over which is the best mascara, and new versions are introduced with almost alarming regularity, boasting ever more harebrained technical feats, but your choice will depend primarily on the effects you are hoping to achieve. A mascara's performance is largely determined by the nature of brush it sports. For precision, opt for a thinner brush with sparser bristles, sometimes long and curved to catch everything in one sweep, sometimes a comb to ensure separation, and sometimes short and squat to allow for exact manipulation, sometimes a rubbery, flexible brush. The formula should be relatively fluid, so that it coats each and every lash evenly, and if spiked with fibers, will turn into a lengthening mascara. An excellent mascara of this kind is the very aptly named Définicils from Lancôme. If drama and volume is your desire, a big, fat brush with densely packed bristles is your best bet: look for a thicker formula that clings to lashes, and the most intense black pigment. I'm particularly fond of L'Oréal Carbon Black Voluminous, myself. If you're looking for a long-lasting and smudgeproof curl, then a lightweight, waterproof mascara like Kiss Me Heroine Make is indelible to the point of outright stubbornness.Each mascara type has its drawbacks. A defining mascara must be replaced more frequently, as the formula dries out. A lengthening mascara often sacrifices volume, and those fibers can irritate. Volumizing mascaras are prone to clumping. Waterproof mascaras can be difficult to remove.
The best trick of all is not mascara, but eyeliner. Originating from Laura Mercier counters, through Makeupalley and more diffuse channels, the "tightlining" technique creates an optical illusion that mimics dense lashes, without loading the lashes with mascara. Pigment is deposited along the inner rim of the eye, very delicately, concentrated as close to the lashline as possible—in between lashes is even better. For some reason, it also makes the eyes glow, "pop", but in an indefinable way. Though any lining technique can create the look of thicker lashes, with a few exceptions, tightlining is perhaps the most effective, because it draw attention to your eyes rather than your makeup. I personally tend towards the laziest option, a creamy (so it doesn't tug) eye pencil that smears but minimally, like Too Faced Liquid Lava Extreme Black Gloss. However, most people prefer creme or gel liner, applied with a thin, flat synthetic brush, though dampened powder shadow (provided it is sufficiently pigmented) and liquid eyeliner are also options.Labels: kiss me, l'oreal, lancome, maybelline, shu uemura, the beauty primer, too faced
10/19/2009 [0]
city nights / Helmut Newton for YSL / Robert Piguet Bandit Bandit, one of the bitchiest leather chypres around, captures an early autumn night after a rain: the blended scents of gasoline and decaying leaves, the menace of a dark alley, the emergent chill in the air, electric light reflected off the slick, black streets. (Dorothy)
a fine bordeaux / Manolo Blahnik "Menka" / Serge Lutens Rose de Nuit Perhaps Serge Lutens finds oakmoss too prim for his taste, for his Rose de Nuit is the slutty blood-red velvet dress of chypres, pulled off with eager and anticipating fingers. As may be intimated from its name, Rose de Nuit does feature a liqueur-like rose, normally a note to turn me off, but so precisely complemented by the dried-apricot cum leather-glove character of osmanthus, and a thorough umbrage of oakmoss to keep things properly sinister. (Daïn)
late garden / Frédéric Malle Une Fleur de Cassie The strange and poignant splendour of a late garden, bathed in autumn's diminishing light. All that vegetable propriety, so fanatically cultivated over the warmer months, has fallen into decadence, a voluptuousness that verges on the animalic. Slight decay is beautiful: Venice, for example. (Daïn & Dorothy)
smoke in cold air / Caspar David Friedrich / Annick Goutal Encens Flamboyant Where other, sweeter incense scents call to mind the interiors of darkened churches, Encens Flamboyant is the smell of woodsmoke escaping into a cold November sky, sweetened only with a hint of balsam. (Dorothy)
tweeds / Brideshead Revisited / Guerlain Jicky extrait It doesn't get more autumnal than impeccably cut, Edwardian hunting tweeds, the kind that itches like hell and requires an attentive valet on hand even to get into, but oh, how suave. The rough-cut characters of lavender and tonka bean which populate Jicky, in the parfum, is rendered extraordinarily languorous and smooth, from a superfluity of civet and castoreum. Such heights of sophistication go well beyond the limits of modern taste, but Jicky does make you yearn for the past. (Daïn)
afternoon tea / Paul Cezanne / Mauboussin Slices of honeyed gingerbread, pungent and aromatic, lay in array on a decorated tray, as strong black tea steeps in a silver pot, waiting to be poured into jewel-toned glasses. To take the edge off the smoky flavour, Russian-style, are some dead-sweet cherry preserves. Is this Five O'Clock au Gingembre? No, it's Mauboussin, slightly sour but toothachingly sweet varenya to sweeten your tea and ward off the chill. (Daïn)
La Double Vie de Véronique / Jean Desprez Bal a Versailles As autumn passes, the light slants into sepia, and shadows grow progressively longer and longer. Amber and slightly urinous jasmine give off the golden glow of a late fall afternoon, while civet and resins hint at the midnight that is the winter to come. (Anne)
Gerrit Dou / Histoires de Parfums 1740 Worn-in leather furniture, ripe apples, spiced tea on the hob, the companionable mustiness of an old, well-warmed house: this fragrance captures all the comforts of sitting by the fire on a chilly autumn night. (Dorothy)
James Ensor / Chanel Coromandel At the intersection between the deadpan impersonality of luxury (Chanel) and the idiosyncrasies of a distinctive personality (patchouli) stands Coromandel: sumptuous as the brilliant hues of the turning maples, but up close, the peculiarly rough, dirty, raw, grotesque smell of dead leaves, blowing in a chill wind. (Daïn)
The Non Blonde
Under the Cupola
Mais Que Perfume
Ayala Smelly Blog
Savvy Thinker
Olfactarama
Notes from the Ledge
Mossy Loomings
Tea Sympathy and Perfume
Perfume Shrine
Labels: annick goutal, aramis, chanel, frederic malle, guerlain, histoires de parfums, jean desprez, l'artisan parfumeur, mauboussin, perfume notes, robert piguet, serge lutens
10/16/2009 [4]
My long-time typical beauty routine has involved lining my waterline. Given the shape of my eyes and the lack of pigment in my lashes, I find this is the best way to bring out my eyes without overwhelming them (or the rest of my face, for that matter). While I had used a gel liner for several years without problem, my allergies have progressed to the point that my eyes could no longer tolerate it. Having tried waterproof pencils and gel and cream liners all to no avail, I knew the typical liners simply weren't working for me anymore, and so I turned to the vegan cosmetics lineFyrinnae Cosmetics.
Fyrinnae's Inks Liquid Eyeliners (prices range from $9.00 to $10.75) are not the typical waterlining product. As promised on the website, the liners never dry due to the product's unique formulation. A composite of both liquid and pigment, once applied to the waterline, the liquid evaporates and leaves the pigment behind. This almost amounts to wearing a liquid version of kohl, in that what's left on the lids is a dense, deeply pigmented powder that stays in place. I tried the liner in Ninja, which is meant to be the blackest black. The product more than delivered on its promised and gave me an intense, wet black line for 6-8 hours, after which the product still retained its vibrancy and intense pigment quality. Fyrinnae offers a wide variety of colors in addition to Ninja, many of which appear unique to the brand.
Having such sensitive, watery eyes, as well as being a contact lens wearer, I was initally worried that the liner wouldn't stay in place. I was pleased to find I had no problems with the liner shifting throughout the day, and at no point did I look in the mirror to find liner had blinked onto my contacts. I did note that application is key to ensuring the liner doesn't budge. Though no particular method is necessary for applying liner to the upper inner lid, I experienced the best application results by slightly pulling down my lower eyelid, applying the product, and letting it set two to three seconds before releasing the eye (and all obviously before putting in my contacts). I would also advise scraping most of the product off on the container. Working with only a small amount of product at a time will ensure a more precise, less messy application. As the website indicates, the product does separate slightly in the container, so shake about 10-20 seconds before application.
My biggest concern with finding a new liner for my waterline was finding a product that wouldn't further aggravate my sensitivities. I was pleased to find that Inks Liquid Eyeliner doesn't bother my eyes. In fact, the first couple of times I used the product, I was freaked out by the fact that I couldn't feel it on. Most cream and gel liners are so heavy and dry on the waterline that I was used to feeling weight and dryness with my eyeliner, and I actually had to get adjusted to the weightlessness of the product. (Though it was a quick adjustment - I really enjoyed wearing a product that doesn't dry my eyes out anymore than they already are.)
As much as I appreciate the high performance level of this product, I was even more pleased with the Fyrinnae's excellent customer service. Shipping prices are the bane of my existence - I cannot justify that extra $6+. Given that, Fyrinnae must be commended for its reasonable shipping prices. Orders under $20.00 ship for $1.75-$3.00, and for worldwide destinations, including Canada, shipping under $25.00 is $2.75-$3.50 (all USD). This is a bargain. Orders over $20.00 in the US are free (worldwide shipping is free with orders over either $20.00 or $25.00 - the website is unclear which it is). While Fyrinnae cannot guarantee a delivery date, I received my purchase within two weeks and even enjoyed a free loose eye shadow sample.
Overall, I was highly pleased with both Inks Liquid Eyeliner and Fyrinnae Cosmetics. It's rare to find either a product or a company that lives up to its promises, and it was a pleasure to find a line that's worth some hype. If you're looking for a liner for the waterline, I highly recommend this product.
Inks Liquid Eyeliner Ingredients: Cyclopentasiloxane(and)Caprylic/Capric Triglyceride, Mica,Isododecane,Cyclomethicone(and)Dimethicone Copolyol,Titanium Dioxide,DMDM Hydantoin,Iodopropynyl Butylcarbamate. May Contain: Manganese Violet,Iron Oxides, Calcium Aluminum Borosilicate.
Labels: beauty notes, fyrinnae
10/13/2009 [2]
The first time I read Fahrenheit 451, as summer reading for sophomore year, our class was admonished for making too many comparisons to 1984 in our essays. Perhaps 1984 is the more gargantuan of dystopias, because the world created therein is unusually compelling—strange as it is, you find yourself inside the book—but whatever Fahrenheit 451 might lack in immersion, it makes up with relevance. To my generation, 1984 is a dinosaur, majestic but long extinct; my first memory of a world event is the fall of the Berlin Wall in 1989. Cold-War paranoia does inform Fahrenheit 451, after all it was published in 1950 during the height of the McCarthy era, but it is not essential background. More contextually relevant are the social mores of the 50s: suburban conformity with its slavish appetite for mass culture in particular, still very much with us today.
America has always harbored, for a country so vocal about human potential and free speech, a tendency towards anti-intellectualism. What other cultures might deem the height of comic vulgarity—Bugs Bunny, the absurdly mismatched friendship between Jim and Huckleberry Finn, Coca-Cola, blue jeans, the election of Thomas Jefferson, Hollywood, the American dream—America embraces, and then, markets. Certainly it does not always manifest in negative form, but it is exactly this culture of popular appeal that falls under Bradbury's critique in Fahrenheit 451, what the jaded, malicious Beatty calls a "paste-pudding norm", ruled over by sex and violence. No systemic, governmental imposition claims the origin of this dystopia; Bradbury is careful to emphasize that the firemen arise as a mechanism of reinforcement, not coercion, of a general trend. Dystopias all operate on a principle of parallel reality, describing not the world as it is, but as it could be. Without the uneasy sense of possibility hanging in the air, a dystopia loses all its portent. Fahrenheit 451 describes a society so far gone into decadence it cannot find its own way out. In this void of meaningless noise, runs an undercurrent of despair, a proclivity towards self-destruction, metaphysical silence. The problems of life have not changed:
- ...we're allotted a little space on earth and... we survive in that wilderness that can take back what it has given, as easily as blowing its breath on us or sending the sea to tell us we are not so big. When we forget how close the wilderness is in the night... someday it will come and get us, for we will have forgotten how terrible and real it can be.
These Most Wanted posts are endeavours, for the large part, at striking-and-unusual but coherent-rather-than-overdressed outfit-building. But this time around, I'm going to enumerate a number of my sartorial pet peeves, in honor of our dystopic genre.
Labels: balmain, christian dior, christian louboutin, most wanted, ray bradbury, tsumori chisato, victoria's secret
10/07/2009 [6]
I wanted to give you guys one final playlist that gives you a better idea of who I am. It's easy to get caught up in the rhetoric of blog, and I always find it more interesting to get an idea of the people behind the writing. So here goes.
The following is a playlist of songs that have had some meaning in my life, no matter how marginal. If you're interested, I've included a short description of why each song is included underneath the playlist. If you're not, skip down to the video below. Sometimes, it takes more than words....
1) I really enjoy Arabic music, and this song is one of my favorites.
2) This is my idea of perfect music - dramatic, emotional, artsy. I am eagerly awaiting more such music from Adam.
3) I was a huge Buffy fan, albeit lately. I don't think I really got into the show until the last three seasons, just to spend the next couple of years catching up on what I'd missed. I love this song, and I love Spike in the end. Something about peroxide blonde and evil that gets me going.
4) I discovered an ABBA tape in my father's office when I was seventeen. I was lovestruck at the time and must have listened to it nearly every day for a year. In fact, I listened to that tape so much that I wore it out and have even had three replacement CDs in the aftermath. There is such joy to be had in really earnestly cheesy pop, and this song is my favorite from Abba's greatest hits.
5) One of my two absolute favorite songs. It reminds me that redemption is possible.
6) When I lived in Scandinavia, this song was a big hit. Good memories, plus I think it's beautiful.
7) My other favorite song. It's just a beautiful song about drug addiction.
15) Also in Scandinavia, I found this tape (mind you, all tape references occured in or after 1999) that had a recording of "Billie Jean." Like the ABBA tape, I listened to this endlessly. I love how the chorus builds and swells, and I'm pretty sure there's no way to dance to this song and not look cool.
And now for a song that needs more than words to do it justice:
I tell you, I really don't take a lot of joy in irony, passive-aggressive humor, polite conversation, etc., reason being I don't find there's a lot of joy in those things. They're just convenient ways to maintain the status quo. The real joys are in little gems like this that snap you out of your day and trade in a high budget for a hit of giddiness, awe, and fascination. As much as I enjoy my art rock and pretentious little music videos, it isn't thought or wisdom or a good conversation that makes my day. I really only feel alive when I'm laughing, and there's no greater gift I've experienced that to be able to share simple, unadulterated joy with others, even if only through a tv screen.
Perhaps unrelated, I have to work out a way to affix moveable plastic arms to my back, because this is what I want to go as for Halloween.
Labels: culture notes, music
10/05/2009 [2]
LISTENING
DAUBING
For some unfathomable reason—perhaps the atmosphere of conformity in Korea —I've been more willing to experiment with color, especially in the form of red lipstick. But on days when I simply want to look polished, a smoky whisper of MAC Teddy, which makes my dark eyes glow, with a smudge of rich, blunted silver from Dior to edge around the outer corner of the eye. Conventional wisdom might claim gold a more flattering candidate on Asian coloring; here is yet more evidence to the contrary. I can certainly wear shades infused with gold, the gilded peach in the same Dior quint makes a fantastic palliative against the skin-unfriendliness of the coolest shades, but I haven’t met the straight gold for me yet. Thanks to Dorothy, I've been introduced to Beauté stains. The shade Flouron is a tinge too warm on my skin, but not so off I cannot wear it (perhaps a new lipstick might help), and the formula is a fantastically indelible (through the worst summer heat and humidity) gel, though you must blend quickly and deftly an exact amount of product or be stuck with the jester's proverbial makeup.
WEARING
I've gone down a size-and-a-half in weight, not through any design, but from stress and work-related starvation (I don't have time to eat during the summer, much less blog), and none of my pants fit anymore. I prefer skirts, but you can imagine the inconvenience, especially once it grows too cold; I've so long been in the habit of hunting down the most flattering cuts and drapes that walking around in a bad fit makes me feel positively queer. I've finally remedied the situation with a pair from the Vanessa Bruno outlet, a crisply seamed, straight-leg wool flannel in a navy so dark it approaches midnight, what the French usually call "marine". They're quite elegant, especially with ballet flats.
READING
SNIFFING
For the past four months, the folkloric Chant d'Arômes, shifting between cream (aldehydes) and yellow (honeysuckle, rose), has been my steadfast companion at work, substantial but not boring, and yet not so overbearing in its personality that I must follow its lead instead of the other way around (which is fun sometimes, but you don't always want to channel Fracas even if it flatters you). My bottle is almost done, and I'm intending another Jean-Paul Guerlain, Parure, to take its place for the cooler months. Like Chamade and Chant d'Arômes and Vetiver and Eau de Guerlain, the underlying presence is verdant (one wonders about JPG's favorite color), but the uppermost layers take on the shades of a fine sunset: gold, orange, rose, plum.
A woody perfume to fill out my perfume wardrobe, but which?—maybe Tauer L'Air du Désert Marocain, maybe Serge Lutens Bois de Violette, maybe Parfum d'Empire Wazamba, maybe Chanel Bois des Îles, maybe 10 Corso Como—any suggestions?
WATCHING
EATING
WISHLIST
As with the pants, a new bra is one consequence of unanticipated weight loss. I’m particularly particular about lingerie, however, and nothing suitable has yet hoved into view. Minimum requirements: lace, dark fabric (I’m thinking of purple, instead of my usual black), no padding, demi-cup, underwire. I always end up distracted, viz. Carine Gilson Intemporelles Celadon.
Labels: beaute, brown eyed girls, carine gilson, christian dior, consumer diaries, erich auerbach, guerlain, jean paul guerlain, mac, vanessa bruno
9/30/2009 [6]
Caspar David Fredrich, Large Enclosure Near Dresden (1832).
The perfect vetiver sits at approximately the same position among masculines as the perfect rose—an incomparably attractive aroma in nature—disappointingly flat on the skin—a clean vegetable lucidity that meshes poorly with our animal equivocations. It works on some, not on others. That does not stop people from trying, however, and judging by the number of roses and vetivers out there, there is a substantial market for them as well. The sum effect never reaches the expressive heights of complicated constructions like Bandit (which has both rose and vetiver), but by embracing legibility, a vetiver does not demand you conform to its personality as Bandit might. And it is such a pleasant, down-to-earth personality; if you like the stuff, there's no greater eau fraîche around: clean, suave, but graceful in its manners, old-world charm but with a modern outlook. The character of vetiver is so distinctive that, unless playing its perennial supporting role in the drydown, it must be reviewed in terms of other vetivers, but this is also true of the soliflore.
A guy I once dated once told me that the best restaurant he had ever been to was a steak house in New York. "A steak house," I returned, "what's so special about that?" But he was adamant, "It's difficult to do a simple thing, really well." This is what Vétiver Extraordinaire offers: a simple thing, done really well. A fuzz of grey pepper and ozonic notes (I get karanal) accents the opening, though the effect is not so humid as The Different Company's Sel de Vetiver, just the mist that suffuses the cobblestone streets of a sleepy little village at dawn, which clears with the peal of morning bells, signaled by a flash of bergamot, though not with the hespiridic force of Guerlain Vetiver, which veers into citronella for some. And then, full-frontal vetiver: "There goes the baker with the tray, like always/ The same old bread and rolls to sell." It is as crisp and green as vetiver should be; the smell of moral clarity, shooing away moths and straying men. Unlike the chocolate-animalic eroticism of Serge Lutens Vetiver Oriental, or the nuttiness tonka bean and coriander in Hermès Vetiver Tonka, or the firelit smoke of Chanel Sycomore, Ropion eschews any counter to vetiver's bitter herbaceousness. Instead, he makes it drier, with an angular accord of woods, mostly cedar, and billowing mushroom-like note from the cashmeran. The transition into the drydown is so just and so coherent that we don't realize that we've left the relentless quotidian of the little town behind, and entered an enchanted forest where Dans Tes Bras lurks in his lonely castle.OTHER REVIEWS
Perfume-Smellin' Things
Aromascope
Sakecat
Perfume Shrine
Les Tuileries
Sorcery of Scent
Now Smell This
Smellyblog
The Non-Blonde
Perfume-Smellin' Things
Pere de Pierre
Basenotes
Makeupalley
Fragrantica
Labels: cashmeran, caspar david friedrich, cate blanchett, dominique ropion, frederic malle, pepper, perfume notes, vetiver
9/29/2009 [0]
As a belated response to Dain's 90s playlist, I wanted to create my own playlist of songs I enjoyed from the decade. The 90s are the first decade I was old enough to fully appreciate and remember; as a result, I spent the majority of this decade thinking the 90s were the only right way to go. Well, this is true and it isn't. The 90s certainly brought about the cultural relevance of rap, the rise of Radiohead, and Nirvana Unplugged. They also brought about Haddaway, Aqua, and boy-pop. The music gods, sometimes so generous, they give until it hurts.
Below is a pretty accurate list of what we were all listening. It's mostly in chronological order, though there might be discrepancies, as I compiled it from memory. I also gave some thought to arranging like a CD, and hopefully it has the variations in mood that any good CD has. Enjoy.
Labels: culture notes, music
9/28/2009 [0]
Attraction is an extremely complicated business. People grope for physical characteristics such as long legs and big eyes and large breasts and long, silky hair—and yes, these are readily attractive—but attraction also encompasses phenomena as diverse and poorly understood in all their complexity, from clothing style to homosexuality, neither of which have much to do with biological reproduction. Beauty, however, is objective. Take any face famous for its beauty; almost always its proportions are not only symmetrical, but match those of the golden mean, or φ, 1.168—a mathematical exactitude that seems to defy the individuality of the human face. Like good skin, a largely symmetrical, perfectly proportioned face is pretty much impossible to fake, except through surgery or the contouring hand of Kevyn Aucoin. But brows help.
There's no denying that brows are tricky business. A few people require no shaping, no definition whatsoever, just as some need no foundation. Sometimes, the makeup techniques offered by print magazines, who need only concern themselves with two dimensions, disregard the third dimension. You cannot do so with the brows, which must work in tandem with the planes of your face in order to fit the individual asymmetries and proportions, which demands an intuitive sense of what will flatter each and every face. Here are two less normative brow shapes:
If you are a novice, by all means, get them professionally done, but if you're determined to do it yourself, here are some basic guidelines, using this image of Christy Turlington as reference.
Though magnificent, her face is actually known for its (if extremely slight) asymmetries, so haphazardly chosen brows do not necessarily suit even a supermodel. What matters here is that they fit her face, even if the arches do not exactly match. When shaping your own brows, always be conscious that brows are never, ever isolated elements from the rest of your face. They cannot be forced into shapes beyond their abilities, no matter your zeal. If you keep that in mind, by stepping back to observe the overall effect on your face after every few plucks (a magnifying mirror is best avoided during shaping, as it is easier to lose your sense of how the brow you’re your face), then you avoid many of the worst mistakes: overplucking, a "comma" effect, like two tadpoles above your eyes, harshly filled in brows, brows too far apart or too close together, and brows that do not extend past the outer corner of the eyes. - The first step is to invest in a good pair of tweezers (Tweezerman Slant Tweezers are widely available and easy to use), as waxing or threading are best left to administrations of professionals. Pluck by grabbing the hair by its base, rather than by the tip, which may break.
- To shape your brow, you will need a mirror, a regular writing pencil, tweezers, a dark eyeliner pencil (for marking purposes), and possibly a white eyeliner pencil if you are particularly unshaky. The brow should start approximately one pencil-width from the inner corner of the eye. The arch should reach its highest point where the pencil crosses the brow when you have aligned the pencil to the tip of your nose and the pupil of your eye (staring forward, see red line above). The brow should end approximately where the pencil crosses the brow after aligning the pencil, again, between the tip of the nose to the outer corner of the eye (see blue line). Mark these three key points with the dark eyeliner pencil. Fill in an arch, contrasting the dark pencil with negative space marked by the lighter pencil, if necessary. Stand back. Does it fit your face?
- If your face is long, a straight brow, with a minimal arch, will help widen the face. If your face is round, then conversely, you will want as high an arch as possible. A square face shape benefits from an angular shape. A heart-shaped face looks good with a rounded curve. But I personally think bone structure, rather than face shape, is a more reliable guide. Follow the natural curve of the brow bone, and you can't really go wrong.
- Thickness is a matter of taste, but a strong brow is best for big, strong features, delicate brows with small, delicate features.
- If you have close-set eyes, start the brows slightly further apart; if you have far-set eyes, start them slightly closer together. But be very, very careful. Brows that are too close-set or too far-set look really funny. The distance between your eyes is perfectly proportioned if the space between them is equal to the length of your eye.
- Those who find the first plucking excruciating would do well to remember that the second plucking is comparatively painless. Usually, weekly maintenance is required, unless you are particularly bushy.
If your bone structure is softer and less distinctive, the flatter the arch will necessarily be, and the more definition (in terms of arch emphasis) you will require. If your features are small and delicate, then less definition (in terms of thickness). In this sense, perhaps Asian faces are the most difficult when it comes to brow techniques. Not only is the arch inclined to be flat, but the hair grows messily (plucking is necessary), but sparse (so is a brow filler), and so straight that the hairs point in all sorts of directions (plus brow gel).
Labels: anastasia, kevyn aucoin, laura mercier, shu uemura, the beauty primer, tweezerman
9/28/2009 [3]
For some reason, I'm not in a terrific froth to buy things. Mostly, I'm focused on quality basics, of a certain degree of streamlined, highly integrable basics that flatter the figure. It's a great deal less colorful than my wont, but I'm pretty sure I'd be in full warpaint-style red lipstick for balance.
INSPIRE
INVEST
SAVE
DREAM
Labels: courreges, fashion notes, inhabit, martin margiela, vanessa bruno
9/25/2009 [2]
Sketchbook
Dain
·Shiseido Future Solution Eye Cream
·Eres Reverence Essa Bra
·The Face Shop Nail Talk Topcoat
·Serge Lutens Rose de Nuit
·Anastasia Medium Ash Brow Duo
Dorothy
·Chanel Rouge Allure Laque in Coromandel
·Chanel 31 Rue Cambon
·L'Oréal Extra Intense Eyeliner in Bronze
·DHC Acerola Gel
·Essie Alligator Purse
The Kindly One
·Bumble & Bumble Brilliantine
·Stila Smudge Pot in Purple Pumps
·Ojon Finishing Paste
·Cover Girl Lash Blast Luxe in Black Platinum
·Physician's Formula Magic Mosaic in Warm Beige/Light Bronzer (as contour)
Anne
·Bobbi Brown Nectar Blush
·NARS Key Largo Duo
·red fleece cape
·Nivea Soft Moisturizing Creme
·Diptyque Philosykos
Features
The Mnemonic Sense
Desert Island
Most Wanted
Lookbook
The Beauty Primer
Closet Confidential
Color Me In
Designer Index
The Library
Beauty Notebook
The Hit List
Globe Trotter
Glossies
Wedding Bells
Consumer Diaries
perfume notes
beauty notes
fashion notes
culture notes
minimalism
philosophy
chypre arc
floral arc
fresh arc
masculines arc
Archives
August 2008
September 2008
October 2008
November 2008
December 2008
January 2009
February 2009
March 2009
April 2009
May 2009
June 2009
July 2009
August 2009
September 2009
October 2009
Images
Photobucket
Listen as you read: