Interview
Keep the fresh content coming by signing up for Interview newsletters.
Becoming an Interview registered user allows you to save content into Your Library and share with others.
Thank You.
You are now registered with InterviewMagazine.com
Click to Close
YOUR LIBRARY IS EMPTY
Start your library by clicking the
ADD TO MY LIBRARY button found
throughout the following forms of content:
My Library URL
Fashion
11/05/2009 02:19 PM
Possibly the original red carpet trend, the 1940s-style Hollywood red lip and dark-lined eyes has been a staple of high-profile events seemingly forever. It's a reliable fallback, recalling an era defined by sophistication, femininity, sexiness and glamour. We asked Lancome makeup artist Andrew Sotomayor for a step-by-step guide to creating the look:
Makeup from the 40s is popular with girls like Katy Perry and Taylor Swift because it's a simple look that's retro, chic, and looks great on everybody. No one like a lot of fuss when getting ready, but gone are the days when it was cool to look like you slept with your mascara on. This style manages to be elegant and effortless.
To get the look, highlight the entire eye with a matte ivory shadow and trace your lashes with a black felt tip liquid liner. Don't be afraid to try a subdued pair of false lashes, or at least a lengthening mascara for that classic eye-opening effect. For a fresher look, skip the bronzer. Instead, use a dusty pink blush under the cheeks for subtle contour or swirl a bright rosy pink onto the apples for a rosy glow. Gloss is okay, but to keep the look classic and balanced, finish with a red lipstick in a satin or matte finish like L'Absolu Rouge in Absolute Rouge by Lancome.
Sarah Howard is the editor of Beauty Banter.
Tags:
11/03/2009 04:34 PM
We asked CARGO makeup artist Joella Bowden how best to create a "blushing eye":
Most frequently seen on the red carpet–Charlize Theron, Mariah Carey, and Paula Patton are fans–the blushing eye is a fresh take on the classic, Makeup 101 trick of applying a wash of blush to the eyelids to warm the face and make natural eye color pop. Using blush on the eye brings all the colors of the face together, softening the whole makeup look. The look is particularly great for fall, as it brings a pop of color to the season's typically dark fashions.
Today's version can be achieved by using a highlighting blush to trace a "C" shape around the outer corner of the eye, on the optical bone. This creates a beautiful, youthful glow. It also produces an intriguing optical effect: the viewer's eyes want to complete the circle of the blush, which makes the stare of the blushing eye wearer seem all the more piercing. In short, it's a great way to keep someone's focus on your eyes.
Finish off the look with a bit of bright, sheer pink on the apple of the cheeks. Keep lashes dark, yet soft and natural, and define your eyes with a soft line on the top lid.
Sarah Howard is the editor of Beauty Banter.
Tags:
10/29/2009 02:05 PM
As predicted by the styling on last February's runways, goth has, once again, hit the street. We asked MAC senior makeup artists Terry Barber and Gina Bettelli for advice on navigating this tricky terrain:
"It's the way Tim Burton would treat Goth, more dark-romantic, a bit of street-urchin Victoriana, a bit Ska–but not a ghoul. Those are the elements of Goth now," says Terry. "Think punk-inspired but not punk–more punk couture." (PHOTO: CATHERINE HOLSTEIN)
But is a black pout really kissable? Yes, if you keep it simple. Gina explains: "The best pairing to a black lip is matte skin and a little black dress." As for how much black a face really needs, Terry says, "Only a hardcore vampire would do all black everything. It's all about balance. A lot of eye always means less skin and a fleshy mouth. A strong lip looks contemporary on a nude eye. It's is all about what you erase on the face. At the [spring] shows, erased eyebrows had a big moment."
"Play with multiple textures of black to celebrate the season of layering," Gina urges. "Mix it up: anything from patent leather-like lips, to a velvet dress, to strappy leather shoes, to MAC Bling Black Glimmerglass."
Sarah Howard is the editor of Beauty Banter.
Tags:
10/29/2009 09:05 AM
"You've got to do what you've got do—and at the moment everyone wants five inches," laughs British-born, New York-based shoe designer Deborah Lyons, 26. Her debut label, Mechante of London, is garnering attention amongst the fashion set with Olivia Inge and Agyness Deyn as notable fans. I managed somehow to catch a moment with Lyons post S/S 10 trunk shows in London, Paris, and New York. So far, so good, as Harrods, Matches and Dover Street Market are all supporters. "The Brit market are so good to their own; they're more experimental and really know how to dress around their accessories," she says, adding that support in the Middle East is steadily growing.
With a background in both fine art and fashion design, and a degree from Parsons, Lyons traveled to Italy to spend time in the factories learning how to "actually, manually make the shoe" by working with the artisans themselves. She also attributes her skill and taste to a cross-continental youth, "which gave me an idea of what luxury means."
Tags:
What Grows from the Petri Dish
10/28/2009 04:18 PM
Portrait of Ray Petri, Courtesy Arena Homme+
The Winter/Spring 09/10 issue of Arena Homme+ is dedicated to stylist Ray Petri and Buffalo, the visual imaging company (and subsequent myth) he created that just so happened to overlap with his close-knit group of friends. Looking up Ray Petri, Google returns very little helpful information beyond speculation by Armand Limnander that the legendary stylist informed some of the major spring 2007 collections, and a piece (also by Limnander) written for the Times in tribute. Buffalo was named for Jacques Negrit, the bouncer at nightclub Bains Douches whose employees wore a jacket that read "buffalo," a rather fearsome homage to the race-conscious Bob Marley's song "Buffalo Soldier." Buffalo, in the 1980s, was a look often involving radical, excessive juxtapositions of tribal prints and rough, American West-inspired materials; and street casting with a flare for the androgynous. Buffalo also involved a rather prolific clique of stylists, photographers, artists, and models—a veritable industry of self-sustaining UK talent, most of whom have survived Petri to occupy very many pages on Google.
The present issue of Arena Homme+ is the most comprehensive tribute to date, and it comes from the estate, as it were, from a magazine that branched out from now-defunct Arena. The latter magazine was founded by Nick Logan, who previously opened The Face, where Petri made probably his most enduring mark. Arena Homme+ Editor-in-Chief Joann Furniss collaborated with creative director Neville Brody, who commissioned much of the initial Buffalo work, beginning with The Face, on the issue; she claims that in fact Petri and Brody were the reason Arena was founded.
The tribute re-unites Petri's crew, among them photographer Jamie Morgan, who co-founded Buffalo; stylist Mitzi Lorenz, Petri's longtime assistant; designer/stylist/muse Judy Blame; and a young model/Jehavah's Witness, in front of whom no one dared swear, named Naomi Campbell. Furniss sees the continuing awareness of Petri in the fashion industry, particularly in the continuing elevation of stylists, represented by Nicola Formichetti. She also sees broader relevance to the cult of Buffalo in a renewed optimisim about pop culture's global-improvement mission, embodied in the body of one much Gossiped-about cover star:
FURNISS: Have you seen the Ed Westwick cover?
GARTENFELD: I did. Why was Ed the cover that you chose to match up with Ray?
FURNISS: There were two covers—a limited one, which is really very limited, that's the Buffalo cover, which features the Bains Douches bouncer Jacques Negrit; and the other with Ed.
GARTENFELD: So you've done the limited edition, and that seems like a natural choice because Jacques Negrit was somebody who was crucial to the Buffalo set, but what about the choice of Ed?
FURNISS: Well we thought, "What would be a cover of The Face for an issue like this." We decided it's Ed Westwick. And I worked quite closely with the Alasdair McLellan, and he said he wanted to photograph Ed Westwick.
GARTENFELD: So what's interesting about him?
Tags:
