5 Minutes With Makeup Artist Mary Greenwell: On The Silhouette Icon Campaign & Cate Blanchett

cateblanchette

Interview with makeup artist Mary Greenwell as she works on the

Silhouette Icon for an Icon campaign with Cate Blanchett

 

Q. Is there a difference between working with people who are wearing glasses, and those that aren’t? Are there any techniques you use to enhance the eyes behind glasses?

A. No. There aren’t at all! I always say that the glasses come after the makeup. The glasses, if chosen properly, are the perfect addition to your makeup look. So I don’t manipulate the makeup for glasses at all:

do your makeup up how you want it to look and then put your glasses on. They should just be an extension of your personality! That’s the benefit of the Silhouette Icon specs; they’re frameless so people can look into you, and see your face, so you should wear whatever makeup and clothing you want to wear.

 

Q. Do you think this is different from people who wear heavy frames?

No not at all, it’s exactly the same.

 

Q. And from a makeup artist’s perspective, do you manipulate makeup application to accommodate glasses?

A. Well, the model tends to be chosen as they represent the look or theme the styling team want to achieve, so you work to enhance the face, with either a smokey eye, or a bold lip, or a natural finish, whatever is required and then just add glasses.

 

Q. Do you prefer any of the different makeup looks paired with glasses.

A. Not really, it’s whatever you want to wear! If you want a flicky eye: great. Smokey eye: go for it! The question is ‘does your makeup look good without glasses’?

 

Q. So then your general stance is that the glasses don’t affect your makeup application or use at all?

A. Absolutely! Just don’t worry about it. Focus on finding a pair of frames that suit your face. It’s quite a thing to go out and suddenly start wearing glasses, so the frameless Silhouette glasses are ideal to still show off your face and allow the light to access it, so stick to the makeup that you know.

 

Q. Do you think that glasses draw attention to the eyes, as an ‘accessory’?

A. I guess they can portray your personality if you go for a Barbara Cartland sort of look, but ideally, they just showcase your face and work to enhance your natural personality, especially if you go for a Silhouette frameless pair which allows the light to get to your face.

 

Q. What do you think glasses say about a person?

A. I don’t think they represent a personality trait at all. I wouldn’t like to think that way either. It seems a rather stereotyped process to assume someone is more intelligent because they wear glasses. That’s ridiculous!

 

Q. So do you think there is a general idea that people appear more intelligent wearing glasses?

A. No. Personally, I don’t think so. People wear them that way in down-time i’m sure. I’m sure there are people out there, who put on spectacles and head out to dinner in an attempt to appear more intelligent, but that isn’t the way that I see glasses at all. What shows intelligence is the look in someone’s eyes and mirroring what they’re saying, which is why I love the Silhouette Icon glasses, they allow you to see more of the face and the eyes. I mean, I would love for my glasses to make me look more intelligent, but that just isn’t the case!

 

Q.  Working with Cate, are there any makeup styles that she likes/prefers, or you think suit her best?

A. I work with Cate all the time, and she’s a very beautiful person. She doesn’t need any makeup at all really. But obviously, with photography, you apply makeup to even out the skintone, and make the eyes pop a bit more, and that’s all we did really with this Silhouette Icon campaign. There’s not very much makeup used at all.

 

Q. So were you briefed to use minimal/barely there makeup?

A. Well, Cate just looks great in natural makeup, and this wasn’t about a smokey eye or fuller coverage. That wouldn’t work. It’s not how we work, and it’s not how Peter Lindbergh works. He works in a minimalist fashion, and although this wasn’t minimalist makeup, it was natural makeup. That’s what works in the bright sunshine of LA with the light shining through, and you wouldn’t dream of doing anything else. It’s just about making someone look really good. A small amount of makeup will always enhance the face, and too much just doesn’t work.

 

Q.  Are there any key products that you can’t do without?

A. Oh definitely. I can achieve any makeup look using these products:

YSL BB Cream

Chanel No. 5 beige bronzer for bronzing and contouring

Chanel cream eyeshadow in Eblouis

Illusion D’ombre eyeshadow

Sensai volumising mascara

Suku eyebrow pencil

MAC lipstick in ‘cream in your coffee’

 

With those 6 products, you can make your look either really heavy or really light. You can change the look by applying shadow up to the brow bone, or applying just up to the socket for example. Whether you apply less product for a more natural look, or build it up for more emphasis, these products are definitely my go-to!

 

Q. And is there one key product in your professional kit that you would choose?

A. I couldn’t! Everybody is different, and they need different products because of that.

 

Q. When your clients are wearing glasses is there a particular method used to give the eyes stand-out?

A. Wearing glasses actually focuses attention on the eyes, so you can use this to your advantage and wear a bold lipstick to balance out the features. If you are keen to frame the eyes under thicker lenses, then use a liquid eyeliner along the upper lash line, and create a feline flick at the outer corner for added definition. Finishing the look with volumising mascaras will enhance the eye further.

 

Q. Would you use different focuses or emphasis on makeup with different types of glasses?

To complement a thick-rimmed pair of glasses, I would use minimalistic makeup on the eyes and cheeks, but focus on the lips. The classic pillar box red lends to the seductive secretary look, and immediately frames the face. If you have a full lip, wear a darker shade of red to avoid a clustered feel. Those with thinner lips can wear a bright shade. Line the lips first to give extra shape to the mouth.

 

Rimless glasses allow for more versatile makeup looks. Whether you want to enhance the eyes with a smokey eye, focus on the lips, or colour block the cheeks, the more subtle-glasses wear means that any of this is possible.

 

Q. Do you have any top tips on applying liquid liner and creating the different types of flicks?

A. If you aren’t blessed with a steady hand, then there are definitely tricks to help you on your way. Resting your elbow on a firm surface will support the hand and allow you to trace the lash line smoothly and close to the edge. When creating your preferred flick, place a dot where you want the flick to end, and then join the dot to the liner at the corner of the eye.

 

Q. How would you conceal tired and dark circles under the eyes?

A. An illuminator is the perfect tool! Choose a shade that is slightly lighter than your natural skin tone and apply under the eyes. When blending, smooth the illuminator in clear strokes to ensure an even finish. The illuminator will then reflect light particles off the skin and limit the appearance of bags/dark circles.

Thank you Mary.

 

 

Turkish Designer Bora Aksu Launches London Fashion Week

“NAZAR”

Spring/Summer 2014

Celebrating 10 years at London Fashion Week this year has spurred Bora Aksu to look back to his Turkish homeland and its rich, colourful and diverse culture. His spring/summer 2014 collection has been inspired by his childhood memories of there, memories that have had such a big influence on him.

Bora Aksu, London fashion week, fashion, SS14

Although Bora’s childhood memories of Turkey are still as magical today as when they were first played out, as Bora spent more and more time in London and travelled the world their uniqueness and richness has become more valuable to him. The long, hot summer days spent on the Aegean coast are the most prominent recollections that Bora draws on for this season’s inspiration. Long stretches of white sand, bobbing fishing boats, sun-faded houses with lush gardens and hidden village markets are the happy times that give his spring/summer collection a less melancholic feel than has been his signature to date.

Bora Aksu explains: “When I realised that this would be my tenth year at London Fashion Week, it struck me how long it has been since I left Turkey to come to study in the UK. It propelled me to reminisce and look back at my roots. I felt that I wanted to re-ignite the passion coming from the rich culture and traditional artistry of Turkey that had inspired me in the first place.”

Bora Aksu says of his new collection: ‘I’m delighted to have worked with the Turkish Ministry of Culture & Tourism as official sponsor for this London Fashion Week show. After 10 years showing in London it’s been great to go back to my roots and be inspired by the rich culture and traditional artistry of Turkey. I hope the show will inspire people to explore Turkey and discover the amazing gems it has to offer.’

The patterns and textures of the Iznik tiles that adorn the show invite have been re-created using traditional handwoven Turkish textiles incorporated into pencil skirts, dresses, cropped jackets and boleros.

Layering continues to be key, with geometric laces over silk tulles and chiffons or used as sheer panels against quilted cotton for added texture in skirts and dresses. Hand crochets produced in Izmir create accents across the collection.

Classic shapes have been contrasted with summer shorts and knitted tees while plastinated cottons update the traditional feel.

The colour palette for the collection began with the traditional ‘nazar boncuk’ or ‘evil eye bead’. Worn in Turkey to ward off evil, legend says that if one should break it is a sign that you have been saved from a great misfortune. Traditionally made from a disc of blue glass, it is this protective colour of the evil eye that dominates the collection. Off-whites also play a key role keeping the collection light before bold injections of bright yellows and fuchsia are introduced, reminding Bora of the long hot summers that he so enjoyed.

“This collection has been incredibly personal for me” Bora Aksu says “It’s been fantastic to have the support from the Turkish Ministry of Culture and Tourism and to take this first step in highlighting a land I am so passionate about and connected to. I hope the show will inspire people to explore the rich culture and traditional artistry that Turkey has to offer.”

Lisa Snowdon Talks Boyfriends, Marriage And Babies

In an exclusive interview and photoshoot with Fabulous magazine on Sunday September 8, Capital FM presenter, Lisa Snowdon, opened up about the future and reveals that she’s not that fussed about the whole ‘marriage and babies thing’.

The 41-year-old breakfast show host and former model says: “I’m definitely not planning to have a baby. I have so much respect for mummies, but you have to give everything to your children and I guess I’m not that kind of girl. Your hips stretch out and I see friends with their nipples falling off.”

Lisa Snowden on babies, marriage and boyfriends, george clooney

She says, though, that she’s not ruling out marriage in the future: “I want the amazing party at the end of it. But that’s probably the wrong reason… I’ve never been that close to sharing my life with someone.”

Fabulous magazine is available free in The Sun every Sunday.

Paloma Faith Discusses her Album Art

PALOMA FAITH WILL CURATE AN EXHIBITION OF HER ICONIC IMAGERY IN NOVEMBER

Paloma Faith, along with Album Artists, is curating an art exhibition comprising a selection of her album artwork and iconic imagery since her debut album was released in 2009. The exhibition will display stunning, limited edition and critically acclaimed images by photographers David Standish and Finlay Mackay, and live photography by Saul.

Paloma Faith

Paloma, whose striking and unmistakeable image has quickly elevated her into a style icon, has been steering the creative direction of her promotional images from the start of her career. Couture, custom made clothing, dazzling hair and makeup, have all been captured in photo form for public display to become some of the most dramatic and celebrated album art images, now available to own.

Paloma Faith. ,Art work, music

The works, range from 50 cm to 1.6 meters in length, include posters, limited edition high quality prints (signed by Paloma and the photographer), and very limited, large beautifully printed and framed photographs, also signed by Paloma and the photographer.

Paloma Faith

Paloma said

‘I am thrilled to be able to exhibit these artworks. The photographers involved are all amazing and I am so proud to have worked with them. I am extremely hands-on with my visuals, and collaborate very closely with photographers to achieve the final image.

‘In an age where we are all downloading music, it’s wonderful to be able to appreciate fully the work that goes into creating the beautiful imagery surrounding an album.’

Do_You_Want_the_Truth_or_Something_Beautiful

In the video above Paloma Faith discusses her efforts to create spectacular album art in the digital age, and her experiences with the “poetic and sensitive” David Standish compared with the “dynamic and physical” Finlay MacKay and Saul who Paloma has known since she was 18 and who she can trust to get her “right angles, which are the bane of a woman’s life.”

New_York

dress.1What is your favourite?

One Direction On Success, Dating, Romance & Life On The Road

This weekend the hottest popstars on the planet take over The Sun’s Fabulous magazine with three collectable, supersized covers. In a world exclusive interview and photoshoot, Harry Styles, Zayn Malik, Liam Payne, Louis Tomlinson and Niall Horan open up about their success across the globe, their lovelives and plans for the future.

Harry, 19, confesses that he does worry about his womanising reputation: “I just don’t want to be seen as a d***head…but at the same time, I’m not an angel.”

One Direction, interview, picture One Direction ,interview, pictures, girlfriend One Direction interview, One Direction, girlfriend, interview, pictures

Zayn, 20, opens up about his relationship with Little Mix’s Perrie Edwards: “If you don’t get to see your girlfriend 24/7, when you do get to see her you really make the most of it. Absence definitely makes the heart grow fonder.”

Liam, 19, reveals that he is loving life as a singleton since splitting with girlfriend Danielle Peazer: “I’m out of my relationship now, I’m single and having fun with the lads.” He adds: “It’s hard to keep on top of a relationship…obviously it wasn’t happening for us.”

Louis, 21, admits the band won’t be settling their ongoing feud with The Wanted: “It’s a shame that The Wanted thing escalated, but there’s going to be no kissing and making up, that’s for sure. It’s gone too far.” He also confides that he and girlfriend Eleanor Calder are “really loved up.”

And Niall, 19, is quizzed on his recent links to Made in Chelsea’s Louise Thompson: “One meeting turned into a big story, which is ridiculous, so that’s the end of that. It does make me wary. You struggle with who to trust and who not to trust.”

There are three supersized covers to collect and five exclusive posters will be available to download at www.thesun.co.uk/fabulous. Readers will also have the chance to win the unwashed T-shirts the boys are wearing in the shoot and a framed cover print signed by 1D.

A free to watch behind the scenes teaser video is available to watch now at bit.ly/1cMQfxd  and the full exclusive video of the photo shoot will be found on www.thesun.co.uk/fabulous from Sunday.

Fabulous magazine is available free in The Sun every Sunday.

Saturn’s Daughters Author Jim Pinnells Interview: On Russia, Pussy Riots And The Birth Of Terrorism

 Saturn’s Daughters Author Jim Pinnells Interview: On Russia, Pussy Riots And The Birth Of Terrorism, terrorism, Jim Pinnells, pussy riots, Frost is very excited to interview Jim Pinnells. Jim has lead a fascinating life and he has written a great book called Saturn’s Daughters: The Birth of Terrorism. Grab yourself a copy.

You have led a fascinating life which has included working with the UN, on Chernobyl aftermath projects and being in Egypt during the Arab Spring.  Do you have a particular period that you felt most influenced your life and spurred you to research and write Saturn’s Daughters?

The first version of Saturn’s Daughters was written in the 1960’s when flower power and revolution were in the air. A book by David Footman, Red Prelude, got me hooked on the Russian revolutionaries of the 1880’s. With a bit of history, a natural streak of rebellion and an over-vivid imagination, I dreamed up a revolutionary romance about a terrorist called Viktor Pelin. His shadow survives in Saturn’s Daughters. An American agent pointed out that the female characters in the book were far more interesting than the male and suggested a rewrite. So Countess Anna moved centre-stage – though it took her thirty years to do so. Then I saw that Anna herself wasn’t really the key, but a whole cluster of women centred on Sofya Perovskaya. Her dedication, her idealism, her ruthlessness fascinated me. And this book is the result, almost half a century after the first draft. In a way, the many versions of Saturn’s Daughters are a measure of how far one can travel in a lifetime.

Where did the inspiration for the book come from?

From David Footman, from the Aldermaston marches, from an awareness as a young infantryman defending the River Weser that we were nothing but cannon fodder, from the Atlee government that gave me a scholarship to Cambridge but not the cash to cross the great social divide, from the farmers’ kids I taught in deepest Devon – from everything that ever happened to me really.
How did you undertake your research for the book?

Saturn’s Daughters is a historical novel. One thing I try to do is to get the history more or less right. That obviously means reading a stack of history books and biographies. Once that’s out of the way, there’s another kind of reading altogether – reading what the characters in the story would have read: magazines, newspapers, posters, adverts – every kind of ephemera. What music would they have listened to? What would they have stepped in when they were walking down the street? How would they have taken off their underclothes? And then topography. An earlier novel of mine, The Causeway, is set in a convent in the Bay of Naples. It wasn’t until I visited the convent (now a hotel) and paced the corridors from the cell of the Mother Superior to the punishment cells, found the terrace where the nuns would have seen Nelson evacuating Emma Hamilton from the quayside in Naples, dug my fingers into the soil of the nun’s kitchen garden – only then did the story come to life.

What is your writing routine?

I wish I had one. I’ve never had time to develop any kind routine. I take jobs that sound interesting wherever and whenever they come up. Vietnam, Venezuela, Russia, South Africa the Indonesian jungle or the Saudi desert. Some of my work involves report writing and that always kills real writing. I write fiction when I have time: on planes, on trains, during dead evenings when there’s nothing to do but chat with the locals in a bar somewhere. But then, to finalize a book, you have to sit down, lock the door, and work on it all the hours God made. If you don’t want a character to have blue eyes on page 12 and brown eyes on page 212, you have to (or at least I have to) rewrite the whole book in one intense anti-social bash.

Your book is about the first female terrorist. Do you think there are now less female terrorists, and if so, why?

Quantitatively there are probably as many terrorist movements in the world now as there were individual terrorists in the nineteenth century. Qualitatively it’s hard to say – I’m not quite sure how you’d measure the quality of female terrorists. Tons of debris per pound of explosive? As to the ability of women terrorists to attract public attention, I don’t think much has changed. Terror groups like to use young women as suicide bombers because a shattered female body harvests more news coverage. I think it’s always been a bit like that. But one thing has definitely changed. The romance has evaporated. A huge terrorist trial is going on at the moment in Germany. Beate Zschäpe is accused of murder (10 counts), attempted murder, arson, bank robbery and membership of a terrorist organization. (A charge of possessing child pornography has been dropped.) Zschäpe’s political beliefs – as far as the court has established them – are neo-nazi. Is she in fact a terrorist? That remains to be proved. But one thing both she and her cause certainly lack is any shimmer of romantic appeal. A neo-nazi terror cell that guns down Turkish street vendors disgusts most people and attracts only a handful of sympathizers. Chechen immigrants who blow up spectators at the Boston Marathon are in the same boat. A group of young idealists seeking to overthrow a repressive empire – that’s entirely different. They’ll always have a following. I think what has changed most are the ideologies. The methods, the relative number of women involved – those have stayed much the same.

What do you think breeds terrorism?

Short answer: perceived repression. When a group has strong views but has no power to enforce them, it tends to see itself as the victim of repression. In some societies there are “democratic” ways of handling this problem. Collecting money, starting a blog, forming a political party and then seeking election. But how many people have the time, the know-how or even the wish to work in the “democratic” way? The obvious short-cut, at least since the People’s Will showed the way (and this is the subject of Saturn’s Daughters), is terrorism. Not terrorism as a coherent system of action based on the assumption that even if you destroy the building, others will decide after you’re gone what will be built in its place. But terror as short-term, violent protest. A scream of frustration. A brief orgy of self-advertisement. So: perceived repression, despair, and the availability the weapons of the terrorist – fast transport, fast communications and the ability to make a big bang.

What do you think of modern-day groups like Al-Qaeda and the Taleban?

I sometimes think that if al-Qaeda didn’t exist, big government would have to invented it. But of course it does exist, simultaneously on the brink of extermination (because after all huge sums have been spent on the means of extermination) but yet able to unleash global mayhem at the drop of a hat (because large sums will be needed for future extermination exercises). Not that I’m trying to trivialize the problem. Al-Qaeda, the Taleban, the Imarat Kavkaz, Boko Haram, and countless similar organization all exist. They all pose a clear and present danger to the existing social order – especially in countries where they have their roots and which are vulnerable to their methods. In the “West” our real vulnerabilities lie elsewhere – a cyber-attack on the banking system, for example, or denial of commodities (especially oil). The West will not collapse in the face of aircraft with full fuel tanks hi-jacked by fanatics, and Russia will not collapse in the face of bombs in the Moscow Metro. Big regimes are more or less invulnerable. On the other hand, I’m sure regime change will be instigated by terrorist organizations in quite a few smaller, less stable countries. If these organizations remain in power after the regime change, then they may rule by means of terror. That, however, will be terror from above – the terror of a Stalin or a Robespierre – not terror from below as practiced by the People’s Will in the nineteenth century or by Al Qaeda today.
What change do you believe the world needs most right now?

Some years ago the Finnish aid agency PRODEC decided to channel more of its resources and direct more of African programmes toward women. I played a small part in that switch. The theory was this: menfolk may look more important like cocks on dunghills but really it’s the women who run things – so help them. Educate them and many good things will follow. Recently in Saudi Arabia, the government has completed a University City just outside Riyadh. It will house the 40,000 women of the Princess Noura Bint Abdulrahman University for Women. It hasn’t been built as a beacon of revolution, but it may function as one. Time will tell. Whatever the outcome in Saudi Arabia, women’s education seems to me the absolute social, commercial and political priority almost everywhere in the world.

What’s next for you?

Two new novels are on the launching pad. The first, Ilona Lost, is set in the First World War. The leading lady (you don’t see the word “heroine” so much these days) is an English nurse who serves with the Russian army on the eastern front and who goes home to Northampton to take over the family firm and build ambulances. The second, Reflections, concerns blood farms where Thai children (especially those with rare blood groups) are herded and milked for their blood which is then sold to the West. And, of course, work. I’m sure I shall give up work one day, but only “when the telephone stops ringing.”
Thank you Jim.

Changing Hands Film Review

indexChanging Hands is a terrific new short film comedy written and directed by Sarah Gordon, and produced with backing from the National Film and Television school. Taking the form of a mockumentary, it follows director and wannabe cinematic genius Kevin Perkins (Dominic Allen), as he embarks on an ambitious new project. Venturing into ‘the most average areas of Britain’, Perkins hopes to discover how the lives of several young men and women from various social backgrounds have been shaped by their parents and upbringings, and what paths their lives have taken. This proves to be a more challenging task that he planned…

Running at a brisk running time of just under half an hour, Changing Hands wastes no time in establishing its influences and tone. The work of Christopher Guest (This Is Spinal Tap) looms large over the proceedings though there are also echos of the incredibly dry wit of Alan Bennett. Thankfully the unique brand of characters and settings do keep the proceedings very fresh. Despite the seemingly meandering tones that the faux talking head interviews take on, the pacing is incredibly brisk and light footed, with the comedic timing of both writer and performers spot on. We whisk through an array of eccentric characters from a pair of pretentious would-be musicians to a preschool teacher with yearnings for Shakespeare. There’s that unique sense of quiet desperation and disappointment underlying the interviews that I’ve always felt is quite unique to British comedy. Or at least British comedy at its finest. Some of the material is cringe comedy in the best possible sense. Each segment is pitched at just the right length; each individual character has a lasting impression yet the writing knows never to over indulge or linger too long.

I had the fortune to meet the writer and director Gordon at a screening at the BFI Southbank. Though our discussion was brief we talked about the influences that had been brought to the project as well as it’s inception. With the idea in place, crowdsourcing funding was used in order to obtain the budget. A brief ‘proposal’ video was created to get backers interest once a script and performers were lined up. It was apparently a quick and efficient process that marks an exciting and unique time for budding filmmakers, where finance and resources are now so readily available from both professional and private services. As she put it to me, ‘you can now pretty much make a film on a phone’. It certainly helped to have such a supportive and creative body as the NFT involved in the project. Changing Hands will have a wider release at upcoming national film festivals before Gordon commences production of another comedic short this winter. On the basis of this, it will be well worth checking out.

Made In Chelsea’s Millie Mackintosh On Bullies & Escaping The Chelsea “Bubble”

In an exclusive interview with The Sun’s Fabulous magazine out Sunday July 28, Millie Mackintosh, 24, reveals that she is still haunted by the bullying she suffered throughout her teens: “I was bullied to the point where I wouldn’t go to school. I was skinny, had glasses and wore braces to realign my jaw. I had full-on yellow hair after a home dye job and had really bad acne all over my forehead.”Millie Mackintosh made in chelsea

Reality star Millie, who is currently planning her September wedding to rapper Professor Green, 29, says she’s much happier now she’s relocated east with her fiancé. And she gave her strongest indication yet that she won’t be returning for the next series of the hit E4 show.

She said: “I’m not going to create a drama just to be part of it…Chelsea is a bubble and not a healthy one. It’s that Gossip Girl environment and people just don’t grow out of it.”

Also in this week’s edition, you’ll find the results of the Fabulous Beauty Awards 2013. A whopping 95,746 readers voted for their beauty must-haves. For the fourth year in a row Cheryl Cole was crowned beauty icon and readers confessed to spending on average £25 a month on beauty products.

Fabulous magazine is available free in The Sun every Sunday.