Bobbi_Brown_Makeup_Manual_Revised
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Last, red powder is strategically applied to the right side of the face.
Two Looks, One Model The “All-American” (opposite) and the “Rock-and-roller.” The black shadow was meant to be both messy and wet. I call it “Brigitte Bardot the morning after.”
White face and red on center of lips.
Blush is theatrically applied. The eyebrows are Madame Butterfly—inspired.
Red liner instead of black—why not?
Blush is applied as eye shadow and layered with true red lipstick.
Finished face. Note that the ears and the top of the forehead were intentionally not made up.
I’ve always loved unusual beauty. This is not a before photo. To me this face is a blank canvas.
The model looks like a Joffrey Ballet dancer. Pretty, pink, and elegant.
Amy Winehouse—inspired look: the blush is left off intentionally and only foundation is applied to her lips.
Some models are chameleons and can carry any look. It’s always fun to play with makeup on them. The trick is knowing when and where to stop.
The necklace is the inspiration for the makeup. The black cream shadow on the eyes may be too much. But the look is dramatic.
MAKEUP for TELEVISION & FILM
TELEVISION
There is a misconception that makeup done for television has to be heavy. That is not the case. The bright lights of television studios can wash out makeup colors, but don’t overcompensate with too heavy a hand. Use the same products you would use for day. Just make sure they are pumped up a notch, and perfectly blended.
Brighten the under-eye area by layering pink-toned corrector under yellow-toned concealer. Then set it with loose powder applied with a powder brush or puff. This step is an absolute necessity as television lights increase shine.
Use full-coverage foundation followed by powder to keep it matte. Sheer tints are too subtle for television.
Even if a glow is desired, it needs to be added to the cheeks at the end of the makeup application.
Color tends to wash out, so always use two shades of blush—one natural shade followed by a brighter pop of color. Correct blending is a must.
Avoid lip colors that are too light unless the subject’s lips are so full that you want to downplay them. Television tends to wash out natural tones.
Define lips with pencil.
Make sure hands, arms, neck, and ears all match the face.
Bronzer is a great help, especially on the neck.
High-Definition Television
High-definition television is extremely unforgiving. (It definitely wasn’t invented by a woman over twenty years old.) It conveys very sharp contrast with great detail. The makeup you apply has to be both fluid and perfectly blended. Foundation that is not correctly applied will look like it’s melting off the face. Remember two words: coverage and blending.
Always check makeup in the monitor to see how it reads with lighting.
Blemishes need to be expertly covered.
FILM
Directors, lighting, and scripts dictate what style of makeup needs to be done. Communicate with everyone involved, ask lots of questions, and do lots of testing. The real makeup challenge, when working on films, is maintaining continuity. Scenes are often shot out of sequence, and part of a makeup artist’s job is to make sure the character looks the same in each scene. It can be a slow process, so always have a digital camera and a notebook handy to keep track of the shots. Lighting and style dictate what the makeup should look like.
NINE MEMORABLE WOMEN
These women are all icons and their looks have inspired many makeup artists to recreate them either in movies or editorial work. Whether it’s a direct period piece or just an element — these are the looks that inspire editors and photographers.
Brigitte Bardot
Light foundation and blush, extra pale lips, and classic medium-thick eyeliner.
Audrey Hepburn
Her look was all about the strong squared-off brow, a matte powdery face, and natural colors.
Catherine Deneuve
Sexy kitten, smoky eyes, and medium lips.
Ali McGraw
The icon of the natural American look. Brown eyeshadow, simple dark brown liner, naturally strong brow, clean skin, tawny cheek, and nude lip.
Sophia Loren
Classic Italian, sexy yet understated. Her strong features don’t need a lot. Strong brows, medium lips, clean black eyeliner, and a little blush.
Marilyn Monroe
Her makeup was all about a sexy face. Strong brows, white eyelids, smoky contour, false eyelashes, and strong eyeliner, often with a red lip – classic 50s.
Lena Horne
40s glamour – burgundy lips, eyes lined on top, shadow artfully applied, strong brow, and visible black false eyelashes.
Elizabeth Taylor
Whether playing the title role in Cleopatra or Martha in Who’s Afraid of Virginia Woolf, she always had her violet eyes rimmed with black shadow, eyeliner, and lashes.
Grace Kelly
A Hollywood princess: classic blonde and “Ralph Laurenesque” at a black-tie ball.
MAKEUP for FASHION SHOWS
Working as a makeup artist at a fashion show is similar in many ways to doing the makeup for a theatrical production. Just as theatrical makeup has to represent the vision of the director or the playwright, the final look you see on the runway is a collaboration between the designer, the makeup artist, the hairstylist, and the model. As fashion shows have increasingly become a media circus, with television cameras and photographers recording every aspect of the event both on the runway and backstage, the makeup artist’s role has become even more important. It is not enough to make a model look beautiful; a makeup artist must be able to speak about the designer’s vision and the current style trends.
Working with models is like working with a blank canvas. You can experiment and try things that would probably look horrible on a real woman but look great on the runway or in a photo. I do believe that if the model likes her look, the shoot will go better. I have had to apologize for creating a severe look that the model hates but is required by the designer or photographer. All of these situations take confidence, patience, communication, and a willingness to take risks.
WHAT HAPPENS BEFORE THE SHOW
The Makeup Test
If it’s the first time you’ve worked with a designer, research his or her design style and history. This will give you an idea of the aesthetics of past shows.
About a week before the fashion show, the makeup artist and designer meet to discuss the look. After viewing the clothes, the designer will give you his or her vision for the collection. Designers are very visual, but aren’t always able to communicate what they want. Your role is to interpret their vision. Most designers have photos of inspirational objects to help you with the interpretation. Ask a lot of questions. If the designer mentions he wants a strong eye, ask if he’s thinking Sophia Loren in the 60s or the modern Gucci eye. Keep asking until you feel confident that you have the right vision in your head.
Next, do some trials and experiment with some options to show the designer and stylist your interpretations of the look. You may get the right look quickly, or it can take quite a long time. Sometimes makeup is done on a pretty assistant, but show makeup works best on a model. There is a reason models are models: they showcase makeup better than other people.
Once the final look is approved, sketch it. Purchase anything you think you will need that is not already in your kit, and complete a face chart that includes all of the products, with color identification, location on the face, and any special information needed to complete the look. You will need a makeup team. Find out how many models will be walking and hire one artist for every two to three models.
WHAT HAPPENS DURING THE SHOW
Stay calm. This is the key to working on a fashion show. There will be plenty of chaos, lots of distractions, and last-minute emergencies. You also have to be flexible; sometimes makeup is completely changed thirty minutes before the show.
On the day of the fashion show, you need to arrive two to four hours before the show is scheduled to begin.
Start by using one of the models to do a trial run of the makeup. When her face is done, bring her out onto the runway so you and the designer can check the results under the lights. If you have assistants working with you, bring them out as well so they hear what you and the designer decide.
Once the look gets approved, the team begins to work. Adjust the colors for each model’s skin tone. Even if the designer says he wants pastel pink on everyone’s cheeks, remember that the exact same color won’t work on different skin tones.
Many of the models will arrive backstage from another show. They will already have a full face of makeup on, and you will have only minutes to change their look completely. To save time, hand the model a tissue covered in non-oily makeup remover, and instruct her to wipe off her lipstick and eye shadow. You can have her leave the foundation and mascara on, but you must check it carefully to determine whether it will work with the look you’re trying to create. No matter how little time you have, if the foundation isn’t right, you must take it all off and start from scratch.
Right before the show begins, you need to check the models for refreshing or additional powder to combat shine.
Even after the models start heading down the runway, your job is not done. As the models change clothes, they might mess up their lips, or they might need a touch-up with powder. Your job is to continue standing by, ready to fix whatever might need fixing.
WORKING with CELEBRITIES
Working with celebrities is fun and challenging. Just like every woman, they want to find a look that is right for them while looking beautiful. Whether you are doing their makeup for an early-morning television appearance, a movie premiere, a photo shoot, or the Oscars, you have to adapt the look to suit the clothes, lighting, and occasion. And as with any relationship, if it’s your first time working with a certain celebrity, go slowly, ask a lot of questions, and hand her the mirror frequently to avoid getting big surprises at the end of the application. If it is a celebrity you’ve worked with regularly, just ask a few quick questions about what she’s going to be wearing and the look she wants.