The French luxury brand will introduce Ultra Correction Line Repair, a five-unit treatment line, which it hopes will bolster its positioning in the worldwide skin care market.
“Almost half of our skin care business worldwide is antiaging related,” said Catherine Rebours, director of skin care at Chanel. “We believe that share will increase with Ultra Correction Line Repair.”
As part of the company’s strategy to continue growing its universe of celebrity and designer beauty alliances, Avon Products Inc. has announced a celebrity deal with Cox to be the face of the brand’s new women’s fragrance, Spotlight, which is set to launch in April.
“I’m happy to be a part of a company I’ve known my whole life,” said Cox, who has also been spokeswoman for the Kinerase skin care brand since March 2005. “Once I sat with them and learned more, they really blew me away with all the issues they support and the wonderful earnings opportunities they give women.”
The company signed first celebrity Derek Jeter in December 2006 to develop a men’s fragrance and skin care franchise. In more than two years, the company has signed on 10 deals. Some of these partnerships include Cynthia Rowley, Christian Lacroix, Jennifer Hudson and Patrick Dempsey, in addition to the Bond and Ironman franchises.
“As we look at our global fragrance portfolio, we wanted to diversify it from designers to celebrities and other franchises — all of which resonate with consumers in an emotional way,” said Tracy Haffner, vice president of global fragrance marketing for the direct seller. “This portfolio allows consumers to have a piece of designer and celebrity equities, and our plan is to continue growing in this way.”
Although terms of the partnership were not disclosed, Haffner said the new alliance is a “multiyear partnership.”
Industry sources estimated the fragrance could do between $10 million and $15 million in retail sales in its first year.
The April introduction will be followed by a global launch in summer via Avon’s 600,000 sales representatives in the U.S. and avon.com. Spotlight is described as a “fresh, oriental scent” inspired by the anticipation and excitement that can precede a big moment, said Haffner.
“Since I’m the kind of person that’s very loyal to a fragrance, having worn the same fragrance for 10 years, it’s nice to have a new one that I’m so proud of,” said Cox.
Created by Jean-Marc Chaillan of International Flavors & Fragrances, the scent is composed of top notes of shining silver, mandarin and Italian bergamot; middle notes of white freesia, tuberose absolute, and mimosa, and bottom notes of cashmere sandalwood, vetiver and white vanilla musk. It will retail for $22.50 for 1.7 oz.
“We wanted to capitalize on everyone’s fascination with being in the spotlight,” said Haffner. “Courteney has been in the spotlight ever since Bruce Springsteen pulled her onto stage as a little girl.”
Selected sales representatives will get a “preferred preview,” where they can place early orders for Spotlight. The company predicts that about 125,000 bottles will be distributed at this time.
The new scent will also be featured on the front cover of the Avon brochure starting in April and will include a two-page spread and scented page. Global advertising will include television and print ads starting in March.
Cox is getting ready to start shooting the pilot for a new comedy called “Cougartown,” where she plays a recent divorcée in her early 40s who has a 17-year-old son.
“They haven’t cast my son yet, but it’s empowering to play someone my age,” said Cox. “I’m glad I’m not playing a mom of a two-year-old — it’s much more interesting for me to act opposite a teen so I can have serious conversations. I don’t know if I’ll be able to go back anymore now that I’m playing my true age.”
She also will appear in a film called “Bedtime Stories,” due out Dec. 25, and in the first three new episodes of Scrubs starting in January, she said.
Women are saying that their makeup, most notably their foundation, is making them look older, according to Procter & Gamble research, and the beauty giant’s latest innovation aims to address that.
“Simply Ageless was designed to make this issue go away,” said Esi Eggleston Bracey, vice president and general manager of Global Cosmetics at Procter & Gamble Beauty, in reference to a new cream foundation that combines Cover Girl and Olay technology.
Strong support on that point came from Ellen DeGeneres, the Emmy award-winning talk show host, actress and businesswoman, who is fronting the line as Cover Girl’s newest spokeswoman. DeGeneres said that when she was first contacted by the brand to be a Cover Girl, she thought “they must be looking for actress Ellen Barkin.”
But after DeGeneres thought about the offer for awhile, she said it made sense.
“I look at some of the other Cover Girls, like Drew [Barrymore], and she is smart and a businesswoman. So I see how I would make sense,” she said. DeGeneres was especially attracted because many of the Cover Girls have their own look. “Everyone [in Hollywood] is looking the same. They are rail thin and they have a certain look. We should celebrate our individuality,” she said.
Eggleston Bracey said DeGeneres was a natural choice because “at Cover Girl, we are involved with and inspired by women. Ellen is smart, funny and a multifaceted humanitarian who is also a businesswoman. What we are trying to do is reflect how dynamic [these women] are.”
DeGeneres, who is in her 50s, said she has been wearing Simply Ageless for a while on her show, and she can see a difference.
“A lot of makeup makes you look older — it falls into lines,” whereas Simply Ageless doesn’t, she said.
The new product’s breakthrough technology, Eggleston Bracey contended, allows the foundation to stay suspended over wrinkles in the skin. As it is applied, she said, the solid emulsion technology works with the skin’s temperature to transform the foundation from a cream to a liquid on contact. Users can see the blending of foundation and skin care by noticing the product’s swirl design.
“This is our way of showing that the skin care is in there,” said Eggleston Bracey.
This is the first time the Cover Girl and Olay brands have worked to co-create a solution for the consumer in a joint-branded product. However, the two aren’t strangers: Cover Girl partnered with Olay for the foundation Advanced Radiance several years back. That initiative included Olay ingredients in the formula of the foundation.
Simply Ageless is available in 15 shades and will retail for $13.99 in mass market retailers beginning this month.
According to data from Information Resources, Procter & Gamble holds the No. 2 spot in foundation, behind Revlon, with $166.8 million in sales, excluding Wal-Mart, for the most recent 52-week period ended Nov. 2.
DeGeneres will appear in print and TV ads for Simply Ageless beginning in January.
“There’s a profusion of mineral products, but since there are no regulations, people put a sticker saying that its mineral without adhering to the same ethics across the board,” said Ingrid Jackel, Physicians Formula’s chairman and chief executive officer. “It’s about working with beauty educators to help educate consumers about what mineral really means.”
Jackel said she saw an opportunity for long-wearing mineral makeup while studying the $170 million face makeup market in food, drug and mass stores. She also worries about market erosion caused by the flood of knockoffs.
“We’re progressively seeing more and more of these cheaper mineral products, but as consumers get more educated about the mineral category they will seek more credible mineral lines, like with what we saw with the green category,” said Jackel. “Our research showed that only 37 percent of women 18 and older are mineral users, so there is definitely an opportunity to target this age range.”
After launching three years ago, the Mineral Wear assortment includes 70 items for the face. The company wanted to introduce its first 100 percent mineral talc-free brightening bronzer and face brightener pressed powders under the Mineral Wear franchise. The proprietary formula is composed of light-reflecting micronized minerals such as pink, orange and white sapphire, green tourmaline and citrine. Designed to even out skin tone and add a radiant glow, the items will feature a new label to explain that the products are 100 percent mineral. Launching in February, both will be available in four shades and retail for $13.95.
“There’s a whole trend going towards radiance and brighter skin in mineral products — it’s about achieving a healthy overall glow without showing off fine lines and wrinkles,” said Jackel.
Capitalizing on the success of the tinted moisturizer launch in Organic Wear, Physicians Formula wanted to give consumers a tinted moisturizer with SPF 15 under the Mineral Wear franchise to offer consumers a lightweight formula that still had mineral benefits. Available in four shades, the tinted moisturizer will retail for $12.95. The company will also introduce a talc-free mineral concentrate designed as a three-in-one “touch up tool,” acting as a concealer, powder and foundation.
Some industry executives speculated that the department store beauty business would finish the year down by as much as 3 percent to 4 percent. Another observer noted, “anywhere from minus two to plus three would be an outstanding result.”
John Demsey, a group president of the Estée Lauder Cos. Inc., who oversees the Lauder brand as well as MAC Cosmetics, observed, “So far it has been a tumultuous ride.”
That amounts to roughly 4.8 percent of the workforce that will be cut between now and the first half of next year. In a statement, L’Oréal USA said, “the company believes that acting now to consolidate functions and streamline efficiencies will both strengthen its position in the face of the current difficult economic climate, and help it to meet the challenges and opportunities that lie ahead.”
Renee Zellweger
Tools of the Trade:
Strobe Cream moisturizer
Bare Canvas Paint eye shadow
Teddy Eye Kohl
Blacktrack Fluidline
Blossoming Blushcreme
Zoomblack Zoom Lash mascara
Beurre Cremestick Liner
Hug Me Lipstick
Get the Look:
Renee's red carpet look is always fresh and natural looking. The key is glowing skin with just the right amount of make-up to bring out her beautiful blue eyes and full lips. "Start by prepping the skin with Strobe Cream moisturizer to get Renee's healthy glow and blending a touch of the Crème Blush on the cheeks," says M·A·C senior artist Julie St-Laurent. Balance out any remaining blotchiness with MAC Studio Mist Foundation - its light texture is perfect for a natural finish.
For the eyes, blend Bare Canvas Paint eye shadow on the lid from lashes to brows. "Apply more product on the lid then under the brow to keep it looking natural," says Julie. "Then use Blacktrack Fluidline eyeliner to add fullness to the lashes and create Renee's signature sultry gaze." To bring out the eyes even more, Julie recommends using an eye pencil along the bottom lash line and gently blending for a softer effect. Finish with mascara for extra glamour. To complete the look, keep lips kissably soft and natural-looking with a pretty, nude shade.
Zooey Deschanel
Tools of the Trade:
Mineralize SkinFinish powder
Knight Divine Eye Shadow
Zoomblack Zoomlash Mascara
33 Lash
Get the Look:
Indie darling Zooey Deschanel's look is youthful, pretty and all about the eyes. To get her wide-eyed glamorous look, M·A·C Senior Artist Melissa Gibson, recommends starting with flawless skin by using Mineralize Skinfinish foundation all over the face. Next, use the shimmery shadow to softly rim the eye area. "The touch of frost will add a dreamy evening dimension," Melissa says. Next, take the eye to the next level with a generous helping of mascara or, for the ultimate in glamour, give your lashes a retro boost with mod-inspired false lashes. "Finish by keeping cheeks and lips soft and neutral," says Melissa. "That way when the paparazzi start taking pictures, all they'll notice is the sparkle in the eyes!"
Renee Zellweger
Tools of the Trade:
Strobe Cream moisturizer
Bare Canvas Paint eye shadow
Teddy Eye Kohl
Blacktrack Fluidline
Blossoming Blushcreme
Zoomblack Zoom Lash mascara
Beurre Cremestick Liner
Hug Me Lipstick
Get the Look:
Renee's red carpet look is always fresh and natural looking. The key is glowing skin with just the right amount of make-up to bring out her beautiful blue eyes and full lips. "Start by prepping the skin with Strobe Cream moisturizer to get Renee's healthy glow and blending a touch of the Crème Blush on the cheeks," says M·A·C senior artist Julie St-Laurent. Balance out any remaining blotchiness with MAC Studio Mist Foundation - its light texture is perfect for a natural finish.
For the eyes, blend Bare Canvas Paint eye shadow on the lid from lashes to brows. "Apply more product on the lid then under the brow to keep it looking natural," says Julie. "Then use Blacktrack Fluidline eyeliner to add fullness to the lashes and create Renee's signature sultry gaze." To bring out the eyes even more, Julie recommends using an eye pencil along the bottom lash line and gently blending for a softer effect. Finish with mascara for extra glamour. To complete the look, keep lips kissably soft and natural-looking with a pretty, nude shade.
Zooey Deschanel
Tools of the Trade:
Mineralize SkinFinish powder
Knight Divine Eye Shadow
Zoomblack Zoomlash Mascara
33 Lash
Get the Look:
Indie darling Zooey Deschanel's look is youthful, pretty and all about the eyes. To get her wide-eyed glamorous look, M·A·C Senior Artist Melissa Gibson, recommends starting with flawless skin by using Mineralize Skinfinish foundation all over the face. Next, use the shimmery shadow to softly rim the eye area. "The touch of frost will add a dreamy evening dimension," Melissa says. Next, take the eye to the next level with a generous helping of mascara or, for the ultimate in glamour, give your lashes a retro boost with mod-inspired false lashes. "Finish by keeping cheeks and lips soft and neutral," says Melissa. "That way when the paparazzi start taking pictures, all they'll notice is the sparkle in the eyes!"
The second episode of Blush opened with a fun and frenzied Max Challenge in which the competing makeup artists paired up to create a “high fashion,” full-body makeup look inspired by one of four wild animals the contestants found waiting for them in their studio.
Out of the four resulting makeup looks, the only one that fell flat was Rainell and Mo’s odd spider-monkey-inspired look that mentor and Max Challenge judge Charlie Green deemed “messy.”
As for the other contestants, Charlie revealed that she had some difficulty in choosing a winner. Charlie loved the feather lashes that Sharzad and Farrah incorporated into their Flamingo-inspired look as well as the vibrant colors on Myke and Maxi’s blue, green and yellow-faced model, whose look was inspired by a colorful parrot.
In the end, however, the fierce, graphic black liner and heavily glossed, blood-red lips of Nolan and Todd’s zebra-inspired makeup look earned the talented team a win.
As a reward for winning the Max Challenge, Nolan and Todd received first pick of the models provided for the elimination challenge and the ability to assign the remaining models to the other artists.
The Elimination Challenge: High Fashion Photo Shoot
Illustrious photographer and stylist (and this week’s tough guest judge) Djak Azran laid out the requirements for the elimination challenge: The artists were to work with Djak on a couture photo shoot and create a look that embodied a “modern take on 1940’s makeup.”
Djak further added that he really likes the look of glossy lips…and he expected the makeup artists’ work to be flawless.
Living up to Charlie’s ominous warning that he could be tough, Djak visited each of the competitors as they worked on their makeup looks and gave his thoughts on their progress. While most of the artists took Djak’s critiques in stride, Maxi again demonstrated his knack for irritating judges.
When Djak approached Maxi to speak to him about his work, Maxi shooed him away and said that he didn’t have time to talk — an action that would later drive Maxi to fret over his own abilities while tearfully waving a cigarette in one hand and cooling himself with a handheld fan in the other.
The Winner
Despite Maxi’s melodrama, the judges acknowledged his talent and sent him to wait backstage with Mo, Nolan Todd, and Myke, whose makeup looks didn’t earn them a win, but did keep them safe for the week.
The judges had little trouble choosing the week’s winner. Earning ample praise from resident judges Joanna Schlip and Hal Rubenstein and a huge cocktail ring from Djak, Farah clinched the win by transforming her model into a blonde bombshell with perfect skin, smokey gray eyes and glossy nude lips.
The Bottom Two
After the judges tore apart Sharzad’s makeup look and described it as “drag queenish”, “a little trashy”, and “pornstar-old” (yowch), they turned their sites on Rainell.
Though Rainell took a risk and stood by her bold purple eye makeup look, Djak repeated a sentiment he expressed to her earlier in the show: He hated it. Joanna and Hal pointed out that makeup artists can’t always do what they want and need to be able to take direction. Djak felt that it was unacceptable that Rainell refused to change her makeup even after he had told her that he hated it.
When faced with choosing between “pornstar-old” and a MUA who can’t take direction, the judges’ final decision came down in favor of Sharzad, making Rainell’s purple eye her last look.
Next week on Blush:
The remaining seven contestants get a chance to redeem their failure at achieving a Forties-inspired makeup look before taking on what may be their toughest challenge yet: bridal makeup.
So what do you think?
Did Rainell deserve to go home or were the judges too harsh on her? Should Myke have been eliminated for touching up his model even after the judges called “brushes down”? (Anyone else think it was weird that this issue wasn’t even brought up with the judges? Maybe we’ll hear more about it next week : )
The second episode of Blush opened with a fun and frenzied Max Challenge in which the competing makeup artists paired up to create a “high fashion,” full-body makeup look inspired by one of four wild animals the contestants found waiting for them in their studio.
Out of the four resulting makeup looks, the only one that fell flat was Rainell and Mo’s odd spider-monkey-inspired look that mentor and Max Challenge judge Charlie Green deemed “messy.”
As for the other contestants, Charlie revealed that she had some difficulty in choosing a winner. Charlie loved the feather lashes that Sharzad and Farrah incorporated into their Flamingo-inspired look as well as the vibrant colors on Myke and Maxi’s blue, green and yellow-faced model, whose look was inspired by a colorful parrot.
In the end, however, the fierce, graphic black liner and heavily glossed, blood-red lips of Nolan and Todd’s zebra-inspired makeup look earned the talented team a win.
As a reward for winning the Max Challenge, Nolan and Todd received first pick of the models provided for the elimination challenge and the ability to assign the remaining models to the other artists.
The Elimination Challenge: High Fashion Photo Shoot
Illustrious photographer and stylist (and this week’s tough guest judge) Djak Azran laid out the requirements for the elimination challenge: The artists were to work with Djak on a couture photo shoot and create a look that embodied a “modern take on 1940’s makeup.”
Djak further added that he really likes the look of glossy lips…and he expected the makeup artists’ work to be flawless.
Living up to Charlie’s ominous warning that he could be tough, Djak visited each of the competitors as they worked on their makeup looks and gave his thoughts on their progress. While most of the artists took Djak’s critiques in stride, Maxi again demonstrated his knack for irritating judges.
When Djak approached Maxi to speak to him about his work, Maxi shooed him away and said that he didn’t have time to talk — an action that would later drive Maxi to fret over his own abilities while tearfully waving a cigarette in one hand and cooling himself with a handheld fan in the other.
The Winner
Despite Maxi’s melodrama, the judges acknowledged his talent and sent him to wait backstage with Mo, Nolan Todd, and Myke, whose makeup looks didn’t earn them a win, but did keep them safe for the week.
The judges had little trouble choosing the week’s winner. Earning ample praise from resident judges Joanna Schlip and Hal Rubenstein and a huge cocktail ring from Djak, Farah clinched the win by transforming her model into a blonde bombshell with perfect skin, smokey gray eyes and glossy nude lips.
The Bottom Two
After the judges tore apart Sharzad’s makeup look and described it as “drag queenish”, “a little trashy”, and “pornstar-old” (yowch), they turned their sites on Rainell.
Though Rainell took a risk and stood by her bold purple eye makeup look, Djak repeated a sentiment he expressed to her earlier in the show: He hated it. Joanna and Hal pointed out that makeup artists can’t always do what they want and need to be able to take direction. Djak felt that it was unacceptable that Rainell refused to change her makeup even after he had told her that he hated it.
When faced with choosing between “pornstar-old” and a MUA who can’t take direction, the judges’ final decision came down in favor of Sharzad, making Rainell’s purple eye her last look.
Next week on Blush:
The remaining seven contestants get a chance to redeem their failure at achieving a Forties-inspired makeup look before taking on what may be their toughest challenge yet: bridal makeup.
So what do you think?
Did Rainell deserve to go home or were the judges too harsh on her? Should Myke have been eliminated for touching up his model even after the judges called “brushes down”? (Anyone else think it was weird that this issue wasn’t even brought up with the judges? Maybe we’ll hear more about it next week : )
| | |
| Rajesh Pratap Singh hits Paris runwaays with his subtle collection
SHAPES: Streamlined geometric, with angular cuts and overlaps – even in the Jodhpur style trousers. FABRICS: Organza, jersey and light-medium weight silks tell a sheer and opaque story. COLOURS: Coral, crimson, frosty gradually morphed into the signature white, grey, silver and black palette. ACCESSORIES: Almost minimalist mode - with transparent acrylic heels, some chunky acrylic jewellery and the occasional slim belt. |
| | |
| Rajesh Pratap Singh hits Paris runwaays with his subtle collection
SHAPES: Streamlined geometric, with angular cuts and overlaps – even in the Jodhpur style trousers. FABRICS: Organza, jersey and light-medium weight silks tell a sheer and opaque story. COLOURS: Coral, crimson, frosty gradually morphed into the signature white, grey, silver and black palette. ACCESSORIES: Almost minimalist mode - with transparent acrylic heels, some chunky acrylic jewellery and the occasional slim belt. |
The Look: “I immediately think of Audrey Hepburn in Breakfast at Tiffanys when I see a pompadour,” says Jessica Rizzo, hairstylist at Paul Labrecque salon in N.Y.C., who suggests keeping the look textured and modern like Hilary Duff’s. To flatter a heart-shaped or square face, pin the raised section close to your forehead. “It offsets a horizontal face shape,” she says. Also rounded faces work well with this hair because it elongates their face to appear slimmer!
The Trick: Prep damp hair with volumizing spray, then place Velcro rollers going back along the mohawk part of your head. Remove rollers, tease along the roots and set into place with bobby pins. Finish by stroking shea-butter pomade along the top to eliminate flyaways and frizz. “When you brush over a teased section, you lose a little texture. This makes it modern. It’s a really nice way to make it look shiny and sleek without being overly perfect.”
Source: Instyle
The Look: “I immediately think of Audrey Hepburn in Breakfast at Tiffanys when I see a pompadour,” says Jessica Rizzo, hairstylist at Paul Labrecque salon in N.Y.C., who suggests keeping the look textured and modern like Hilary Duff’s. To flatter a heart-shaped or square face, pin the raised section close to your forehead. “It offsets a horizontal face shape,” she says. Also rounded faces work well with this hair because it elongates their face to appear slimmer!
The Trick: Prep damp hair with volumizing spray, then place Velcro rollers going back along the mohawk part of your head. Remove rollers, tease along the roots and set into place with bobby pins. Finish by stroking shea-butter pomade along the top to eliminate flyaways and frizz. “When you brush over a teased section, you lose a little texture. This makes it modern. It’s a really nice way to make it look shiny and sleek without being overly perfect.”
Source: Instyle
Bollywood is all about drama and color and the vibrant make-up looks never fail to dazzle and amaze. If you love the flawless beauty of Bollywood’s leading actresses, why not bring a touch of Bollywood glamour to your makeup regimen? To help translate the vibrant Bollywood face to everyday, we’ve enlisted Vimi Joshi, Senior Makeup Artist for M.A.C in India to give us some insider tips on how to get the look without going overboard.
“This look takes Bollywood Blue to the extreme,” says Joshi. The heart of any Bollywood look is in the eyes and this is no exception. The drama here comes from the moody blue eyes highlighted with sparkly gold shadow. As is often the case, the makeup is directly inspired by the clothing and jewelery. The key to translating this look to the real world is to simplify.
Face
Bollywood skin is flawless so start with a good foundation/tinted moisturizer (M.A.C Select Tint). “For this look create a beautiful bronze skin tone (M.A.C Powder Bronzer) and define cheekbones with a warm peachy blush (M.A.C Melba Powder Blush),” says Joshi.
Eyes
The best way to approach this look is to think of it as a smokey eye using blue instead of black or grey. Remember, it can be easy to get carried away so build the color gradually—a little goes a long way and you don’t need a lot of shadow to capture the essence of this look. Give your eyes a little extra glimmer with a touch of gold shadow dotted on the inside corners of the eyes.
Vimi's Recs: M.A.C Electric Eel Eye Shadow; M.A.C Plumage Eyeshadow; M.A.C Gorgeous Gold; M.A.C Auto De Blue Technakohl Liner
Lips
The lips here are intense and red but in real life, if you have a smokey blue eye, the last thing you want to do is create an equally strong lip. Go instead for a nude, peachy gloss (M.A.C Love Nectar Lustreglass) to create a lip that’s subtle but full.
The emphasis here is on the eyes (again!) but instead of being moody and smoldering, this look is young, fresh and sweet. Want to carry your Bollywood look into the spring season but aren’t sure how (or even if) it can be done? Vimi Joshi shows us how.
Face
Instead of glowing, bronzed skin, this look calls for porcelain perfection. Use a good foundation (M.A.C Studio Fix Fluid Foundation) and concealer (M.A.C Studio Finish Concealer) to cover up any blemishes and a pressed powder (M.A.C Select Sheer Pressed Powder) to eliminate shine. For the cheeks, the look is less sculpted sophistication, more blushing bride. Apply a pretty pink blush (M.A.C Pink Swoon Powder Blush) to the apples of the cheeks to help create a fresh, youthful face.
Eyes
The eyes here are lit up with the colors of Bollywood and heavily lined. “Bring this look into every day by using a green toned eyeliner (M.A.C Jade Way Technakohl Liner) to define the under eyes and a wash of pink eye shadow (M.A.C Pink Venus Eye Shadow) on the lids,” says Joshi. Accentuate the look using black gel liner (M.A.C Black Track Fluidline) along the lash line. Finish with a generous application of mascara (M.A.C Pro Lash Mascara).
Lips
This look is a celebration of youthfulness, spring and fresh-faced beauty. Capture the essence of spring renewal with the subtle shine of a pretty pink lip gloss (M.A.C Lust Tinted Lipglass). Add a dot of shimmer to the center of the lip to plump them up and capture the light.
Bollywood is all about drama and color and the vibrant make-up looks never fail to dazzle and amaze. If you love the flawless beauty of Bollywood’s leading actresses, why not bring a touch of Bollywood glamour to your makeup regimen? To help translate the vibrant Bollywood face to everyday, we’ve enlisted Vimi Joshi, Senior Makeup Artist for M.A.C in India to give us some insider tips on how to get the look without going overboard.
“This look takes Bollywood Blue to the extreme,” says Joshi. The heart of any Bollywood look is in the eyes and this is no exception. The drama here comes from the moody blue eyes highlighted with sparkly gold shadow. As is often the case, the makeup is directly inspired by the clothing and jewelery. The key to translating this look to the real world is to simplify.
Face
Bollywood skin is flawless so start with a good foundation/tinted moisturizer (M.A.C Select Tint). “For this look create a beautiful bronze skin tone (M.A.C Powder Bronzer) and define cheekbones with a warm peachy blush (M.A.C Melba Powder Blush),” says Joshi.
Eyes
The best way to approach this look is to think of it as a smokey eye using blue instead of black or grey. Remember, it can be easy to get carried away so build the color gradually—a little goes a long way and you don’t need a lot of shadow to capture the essence of this look. Give your eyes a little extra glimmer with a touch of gold shadow dotted on the inside corners of the eyes.
Vimi's Recs: M.A.C Electric Eel Eye Shadow; M.A.C Plumage Eyeshadow; M.A.C Gorgeous Gold; M.A.C Auto De Blue Technakohl Liner
Lips
The lips here are intense and red but in real life, if you have a smokey blue eye, the last thing you want to do is create an equally strong lip. Go instead for a nude, peachy gloss (M.A.C Love Nectar Lustreglass) to create a lip that’s subtle but full.
The emphasis here is on the eyes (again!) but instead of being moody and smoldering, this look is young, fresh and sweet. Want to carry your Bollywood look into the spring season but aren’t sure how (or even if) it can be done? Vimi Joshi shows us how.
Face
Instead of glowing, bronzed skin, this look calls for porcelain perfection. Use a good foundation (M.A.C Studio Fix Fluid Foundation) and concealer (M.A.C Studio Finish Concealer) to cover up any blemishes and a pressed powder (M.A.C Select Sheer Pressed Powder) to eliminate shine. For the cheeks, the look is less sculpted sophistication, more blushing bride. Apply a pretty pink blush (M.A.C Pink Swoon Powder Blush) to the apples of the cheeks to help create a fresh, youthful face.
Eyes
The eyes here are lit up with the colors of Bollywood and heavily lined. “Bring this look into every day by using a green toned eyeliner (M.A.C Jade Way Technakohl Liner) to define the under eyes and a wash of pink eye shadow (M.A.C Pink Venus Eye Shadow) on the lids,” says Joshi. Accentuate the look using black gel liner (M.A.C Black Track Fluidline) along the lash line. Finish with a generous application of mascara (M.A.C Pro Lash Mascara).
Lips
This look is a celebration of youthfulness, spring and fresh-faced beauty. Capture the essence of spring renewal with the subtle shine of a pretty pink lip gloss (M.A.C Lust Tinted Lipglass). Add a dot of shimmer to the center of the lip to plump them up and capture the light.
The HDIL India Couture Week aimed to brighten up the
Mumbai monsoon with some razzle-dazzle. But Sohiny Das,
at times, wished for her shades
The perception of couture as trousseau in our country had
seeded apprehensions regarding the purpose of the HDIL India Couture Week, even before the event had commenced. But then, definitions may alter with location – this reasoning was enough to garner enthusiasm and leave cynical presumptions outside the venue entrance. Couture is fantasy, who needs reality?
Inside the tent, however, the Vibgyor fringed installations seemed to depict a celebratory continuation of the recently held Gay Pride Parade in Mumbai. The general observation to this ‘Rainbow in the rains’ décor was, ‘Why?’ Perhaps this was the intended preparation for the fantastic journey that was ready to unfurl with the somewhat jarring red carpet....
Six days of the country’s grandest fashion extravaganza left a mixed aftertaste. When eleven master couturiers of the country assemble for a presentation, one expects nothing short of magic. But that is what was lacking. Somewhere, hopes were raised, sighs escaped, gasps were drawn, and the palpitation almost ruptured – but then again, almost.
Textile Trends
Velvet and net predominantly juxtaposed throughout. Ritu Kumar, J J Valaya, Varun Bahl, Rohit Bal, Manish Malhotra, Tarun Tahiliani, Pallavi Jaikishan and Manav Gangwani featured both fabrics in generous doses, while Suneet Varma and Anamika Khanna used net effectively. Lurex peek-a-booed in many collections (saris, gowns) in the form of jerseys, georgettes, taffetas and satins. Cashmere, worsted wool (Asish Soni); silk jersey, tweed (Tarun Tahiliani); and cotton velvet (Ritu Kumar) provided some refreshing alternatives to the chiffon/ georgette/ tissue brigade. But of course, brocades and jacquards continued to hold their own as the traditional Indian regalia.
Print and Palette
Splashes of digital prints depicted human figures, jewellery (Kumar), shibori effects (Tahiliani), paisley panels (Valaya) and water-colour florals (Varma). The paisley emerged strong – miniature to giant, full-figured to size-zero, sometimes stylised to serpentine proportions. Art Nouveau floral motifs also domi–nated in bold and intricate versions.
White, cream and black featured prominently, with gold and silver next in line. Jewel tones like emerald and ruby, along with indigo and chocolate, were the darker favourites. Salmon pink, coral, flamingo red and turquoise added the bright accents, while onion, mocha and warm grey provided subtle touches. Though the timeless single-colour outfit theory was popular, a few designers like Kumar, Valaya, Bal, Malhotra and Bahl did play with imaginative and strikingly unconventional combinations.
Shape Shifters
The most noticeable was the variation in the lehenga shape;
after the prolonged reign of the A-line gherdaar, this allowed numerous liberties. While Valaya, Tahiliani and Kumar presented multi-panelled, streamlined A-line skirts, Bal, Khanna, Jaikishan and Bahl depicted volume, with underlayers or sheer overlayers – almost on the lines of the farthingale.
Malhotra retained fluidity, with thick hem bands; while Varma and Gangwani revamped the fishtail/mermaid, the latter stiffening the base to form a wide disc-like hem. Bal, Khanna and Valaya also displayed pleated underlayers as design features, and Khanna presented concave hemlines.
The straight, long jacket was the desi statement on androgyny – featuring prominently in men’s as well as women’s collections – as bandhgalas, or V-necked ventures. Classic equals boring is sometimes true, and it was déja-vu at every show, especially in menswear. While godet inserts made interesting menswear elements (Valaya, Soni), they, apart from the occasional dart/ tuck detail, were just about the only variation in men’s shapes.
Soni’s designs for women, however, stressed on shape. Structured fluidity prevailed in the geometric yet soft pleats and drapes of jackets, dresses, pegged skirts and jodhpur-palazzo hybrids. The U hem featured in Soni’s and Khanna’s collections. Khanna also presented the ‘pegged’ waist and hip, but in lighter fabrics and draped styles.
Embroidery Extravaganza
Designers revelled in the glory of India’s textile treasure trove. The intricacies of embroidery were arguably far superior to those at any Paris couture show. Demure to dazzling, layered to lacey, matte to metallic – the salutation to our craft was the point driven home, repeatedly.
The usual zardozi, aari, chikankari and bead-work prevailed in large quantities – painstakingly intricate, breathtakingly beautiful, and centuries old – featuring in almost all collections. Parsi gaara and ‘jacquard’ embroideries were another common element – whether to create a lace illusion (Varma, Jaikishan, Bal), or an Art Nouveau feel (almost all shows).
Tone-on-tone texturing through quilting (Malhotra), 3-D threadwork (Soni), fringing (Bal, Tahiliani, Soni), meshing (Soni, Khanna), smocking (Khanna) pleating and ruching (Khanna, Gangwani, Tahiliani) showed a more modern approach. Khanna interestingly placed bunches of antique safety-pins for a quirky, yet aesthetic take.
Metal, the Goddess of Indian embroidery, shone through her many incarnations. Badla, dabka, gota and zari transformed from vintage vixen (Kumar, Khanna, Bahl, Valaya, Malhotra) to sheen-ful seductress (Tahiliani, Bal) to dazzling diva (Gangwani, Varma, Jaikishan). The blast from bling countered with equal force, with crystals, mirrors, sequin-sheeting, kundan and stones encrusting the remaining available space, confirming suspicions that the Indian couture customer measures value of luxury on a weighing scale.
Par Excellence?
Yes, apprehensions were ultimately justified. This was largely a bridal extravaganza. A visual feast of regalia, grandeur and heritage – but not much more. Predictably, the fine line between opulence and ostentation was frequently blurred. While the bar of craft was raised extremely high in every show, there were too many overlapping elements. Due to the repetitive materials, techniques, fabrics and motifs, one could be forgiven for concluding that the same textile trend forecast journal was referred to by the Indian design fraternity. Despite the vast variations in our craft, the same few are recycled every season under the ‘support our tradition’ tag.
Couture here is also perceived as the synonym of volume, triggering irrepressible Victorian fantasies with a semi-Oriental take. The so-called ‘majestic’ offerings – where pomp replaced substance – were Eastern cousins of the more outlandish Elie Saab and Dior couture examples, with a bit of Issey Miyake thrown in. Often bordering on costume mish-mash, these pieces seemed better suited to theatre, or in a museum.
Of course couture cannot be complete without feathered headgear; therefore, plumage ruled the roost, and crests – no matter how integral to themes and concepts, it was a bird sanctuary! Serenading Shakespeare is another favourite couture cliché; so behold Venice, balconettes and enchanted forests! But the individual sets and creative choreography are a significant step in the right direction, and though there is always scope for improvement, they deserve special mention.
The bright side is that our designers realise that emulating European couture is not the key to fit Indian parameters – improvisation according to need is acceptable. Thus, each designer presented what they considered to be their forte. Trouble is, the forte was largely common ground. Therefore, it is recommended that we first understand the true definition of couture and stem the future from its roots. Couture essentially means hand finished, it is that simple. A baby-angora vest sans precious ornamentation can be on the same couture level as a fully beaded choli. A Chantilly lace scarf could be worth more than a zardozi sari. Luxury transcends occasion; therefore, it is personal. Only after this realisation, can we educate the market, and expect a better informed customer, who would be willing to extend beyond trousseau for couture.
Text by Sohiny Das
The HDIL India Couture Week aimed to brighten up the
Mumbai monsoon with some razzle-dazzle. But Sohiny Das,
at times, wished for her shades
The perception of couture as trousseau in our country had
seeded apprehensions regarding the purpose of the HDIL India Couture Week, even before the event had commenced. But then, definitions may alter with location – this reasoning was enough to garner enthusiasm and leave cynical presumptions outside the venue entrance. Couture is fantasy, who needs reality?
Inside the tent, however, the Vibgyor fringed installations seemed to depict a celebratory continuation of the recently held Gay Pride Parade in Mumbai. The general observation to this ‘Rainbow in the rains’ décor was, ‘Why?’ Perhaps this was the intended preparation for the fantastic journey that was ready to unfurl with the somewhat jarring red carpet....
Six days of the country’s grandest fashion extravaganza left a mixed aftertaste. When eleven master couturiers of the country assemble for a presentation, one expects nothing short of magic. But that is what was lacking. Somewhere, hopes were raised, sighs escaped, gasps were drawn, and the palpitation almost ruptured – but then again, almost.
Textile Trends
Velvet and net predominantly juxtaposed throughout. Ritu Kumar, J J Valaya, Varun Bahl, Rohit Bal, Manish Malhotra, Tarun Tahiliani, Pallavi Jaikishan and Manav Gangwani featured both fabrics in generous doses, while Suneet Varma and Anamika Khanna used net effectively. Lurex peek-a-booed in many collections (saris, gowns) in the form of jerseys, georgettes, taffetas and satins. Cashmere, worsted wool (Asish Soni); silk jersey, tweed (Tarun Tahiliani); and cotton velvet (Ritu Kumar) provided some refreshing alternatives to the chiffon/ georgette/ tissue brigade. But of course, brocades and jacquards continued to hold their own as the traditional Indian regalia.
Print and Palette
Splashes of digital prints depicted human figures, jewellery (Kumar), shibori effects (Tahiliani), paisley panels (Valaya) and water-colour florals (Varma). The paisley emerged strong – miniature to giant, full-figured to size-zero, sometimes stylised to serpentine proportions. Art Nouveau floral motifs also domi–nated in bold and intricate versions.
White, cream and black featured prominently, with gold and silver next in line. Jewel tones like emerald and ruby, along with indigo and chocolate, were the darker favourites. Salmon pink, coral, flamingo red and turquoise added the bright accents, while onion, mocha and warm grey provided subtle touches. Though the timeless single-colour outfit theory was popular, a few designers like Kumar, Valaya, Bal, Malhotra and Bahl did play with imaginative and strikingly unconventional combinations.
Shape Shifters
The most noticeable was the variation in the lehenga shape;
after the prolonged reign of the A-line gherdaar, this allowed numerous liberties. While Valaya, Tahiliani and Kumar presented multi-panelled, streamlined A-line skirts, Bal, Khanna, Jaikishan and Bahl depicted volume, with underlayers or sheer overlayers – almost on the lines of the farthingale.
Malhotra retained fluidity, with thick hem bands; while Varma and Gangwani revamped the fishtail/mermaid, the latter stiffening the base to form a wide disc-like hem. Bal, Khanna and Valaya also displayed pleated underlayers as design features, and Khanna presented concave hemlines.
The straight, long jacket was the desi statement on androgyny – featuring prominently in men’s as well as women’s collections – as bandhgalas, or V-necked ventures. Classic equals boring is sometimes true, and it was déja-vu at every show, especially in menswear. While godet inserts made interesting menswear elements (Valaya, Soni), they, apart from the occasional dart/ tuck detail, were just about the only variation in men’s shapes.
Soni’s designs for women, however, stressed on shape. Structured fluidity prevailed in the geometric yet soft pleats and drapes of jackets, dresses, pegged skirts and jodhpur-palazzo hybrids. The U hem featured in Soni’s and Khanna’s collections. Khanna also presented the ‘pegged’ waist and hip, but in lighter fabrics and draped styles.
Embroidery Extravaganza
Designers revelled in the glory of India’s textile treasure trove. The intricacies of embroidery were arguably far superior to those at any Paris couture show. Demure to dazzling, layered to lacey, matte to metallic – the salutation to our craft was the point driven home, repeatedly.
The usual zardozi, aari, chikankari and bead-work prevailed in large quantities – painstakingly intricate, breathtakingly beautiful, and centuries old – featuring in almost all collections. Parsi gaara and ‘jacquard’ embroideries were another common element – whether to create a lace illusion (Varma, Jaikishan, Bal), or an Art Nouveau feel (almost all shows).
Tone-on-tone texturing through quilting (Malhotra), 3-D threadwork (Soni), fringing (Bal, Tahiliani, Soni), meshing (Soni, Khanna), smocking (Khanna) pleating and ruching (Khanna, Gangwani, Tahiliani) showed a more modern approach. Khanna interestingly placed bunches of antique safety-pins for a quirky, yet aesthetic take.
Metal, the Goddess of Indian embroidery, shone through her many incarnations. Badla, dabka, gota and zari transformed from vintage vixen (Kumar, Khanna, Bahl, Valaya, Malhotra) to sheen-ful seductress (Tahiliani, Bal) to dazzling diva (Gangwani, Varma, Jaikishan). The blast from bling countered with equal force, with crystals, mirrors, sequin-sheeting, kundan and stones encrusting the remaining available space, confirming suspicions that the Indian couture customer measures value of luxury on a weighing scale.
Par Excellence?
Yes, apprehensions were ultimately justified. This was largely a bridal extravaganza. A visual feast of regalia, grandeur and heritage – but not much more. Predictably, the fine line between opulence and ostentation was frequently blurred. While the bar of craft was raised extremely high in every show, there were too many overlapping elements. Due to the repetitive materials, techniques, fabrics and motifs, one could be forgiven for concluding that the same textile trend forecast journal was referred to by the Indian design fraternity. Despite the vast variations in our craft, the same few are recycled every season under the ‘support our tradition’ tag.
Couture here is also perceived as the synonym of volume, triggering irrepressible Victorian fantasies with a semi-Oriental take. The so-called ‘majestic’ offerings – where pomp replaced substance – were Eastern cousins of the more outlandish Elie Saab and Dior couture examples, with a bit of Issey Miyake thrown in. Often bordering on costume mish-mash, these pieces seemed better suited to theatre, or in a museum.
Of course couture cannot be complete without feathered headgear; therefore, plumage ruled the roost, and crests – no matter how integral to themes and concepts, it was a bird sanctuary! Serenading Shakespeare is another favourite couture cliché; so behold Venice, balconettes and enchanted forests! But the individual sets and creative choreography are a significant step in the right direction, and though there is always scope for improvement, they deserve special mention.
The bright side is that our designers realise that emulating European couture is not the key to fit Indian parameters – improvisation according to need is acceptable. Thus, each designer presented what they considered to be their forte. Trouble is, the forte was largely common ground. Therefore, it is recommended that we first understand the true definition of couture and stem the future from its roots. Couture essentially means hand finished, it is that simple. A baby-angora vest sans precious ornamentation can be on the same couture level as a fully beaded choli. A Chantilly lace scarf could be worth more than a zardozi sari. Luxury transcends occasion; therefore, it is personal. Only after this realisation, can we educate the market, and expect a better informed customer, who would be willing to extend beyond trousseau for couture.
Text by Sohiny Das
Show off this season’s popular trends with beautiful, bright dresses and contemporary, structured clothing
 | ARCHITECTURAL FASHION |
 | COLOURFUL LITTLE DRESSES |
Show off this season’s popular trends with beautiful, bright dresses and contemporary, structured clothing
| | ARCHITECTURAL FASHION |
| | COLOURFUL LITTLE DRESSES |
Rajesh Pratap Singh’s Spring Summer 2009 collection, unveiled in Paris, was a super-subtle affair with his signature micro-fine pleats, tucks, seams, impeccable finish and intimate detail. Each piece was like a mystery that unravelled only after a closer observation – superficially minimalist, but in reality, quite elaborate.
