STAFF: Publisher & Editor-In-Chief: Rich Heaton
Contributors: Tanya Dushakova Cindy Rue Jen Hunter Sinead McGowan
Photographers: Rich Heaton Charlie Octavia Aliona Kuznetsova Juzz Photography Roobert Coppa Barbara Izak
Hair and Makeup Artists:
CON
TRI BUT
ORS
Kim Ulep The Attic Salon Hawaii Remy Reed Anisha Inamatsu Nataly Taguding Ry-n Shimabuku Lynn Yee Chanzen Loo
Models: Jasmine Bazaan Shaholly Ayers Michaela Spaulding Ashley-Ann Kozuma Mandy Butler Kimber De Amore Kiandra Ervin Katelyn Kay Lili Mancila
Retouchers:: Tanya Dashukova Catherine Borisenko
CONTRIBUTORS
Beauty Magazine Creative
CONTENTS C
O
N
T
E
N
T
S
Stuck
Clean
07 22 4
85
Editor
79
Editorial MUA Retouch Tanya
Dashukova
Subm S ubmis ission sion
59 41 37 Bling
Interview Ry-n
23 31
Perfect
Pastels
68
9 4 117 The Light
Interview Kat
Breath
Flowers
13 Finding
Interview
Shaholly
45
BLING
111
Your Best Light
Perfect Pastel (A Hair Story)
96
SPIKED
134
CONTRIBUTE
Beauty Magazine Creative
All submissions must be unpublished Beauty editorials should be 4-6 images per theme Email small samples of your editorial to:
editor@creativebeautymagazine.com If accepted, submit high res images (we will provide a location to send to) at 300 dpi with a CMYK color space with a portrait orientation of 13� High x 10�Wide
2019 Schedule
Future
Bad Makeup Painted
Funk
Nailed Color
Androgyny
Glow Dew Shock
Photo: Rich Heaton Model: Ashlee Ann Kozuma Hair and Makeup: Ry-n Shimabuku
Clean Beauty
Photo: Rich Heaton Model: Kiandra Ervin Hair and Makeup: Lynn Yee
Photo: Rich Heaton Model: Michaela Spaulding Hair and Makeup: Natalie Taguding
Photo: Rich Heaton Model: Evelyn Frost
Photo: Rich Heaton Model: Kimberly DeAmour Dress: Kojo Couture Hair and Makeup: Ry-n Shimabuku
Photo: Rich Heaton Model: Evelyn Frost
Photo Rich Heatonn Model: Lili Mancilla
INTERVIEW
Retouch-
Tanya Dushakova
CHIEF RETOUCHER at Lighthouse Retouching
T
anya Dushakova is the Chief Retoucher for Light house Retouching with an amazings tyle and eye for perfection. She works very closely with her photographers to create clean, crisp, beautiful images and Creative Beauty Magazine was happy to speak with her.
CBMag: When did you start retouching? Tanya: I have been working as a professional retouch artist for the last 4 years. CBMag: You are a very beautiful woman yourself, did you get into retouching from modeling, or was it another path?
TanyaDushakova is the
Chief Retoucher for
Light House Retouching
with an amazing style and eye for perfection.
It’s my work, but it’s also my hobby and I really love it. Tanya: Thank you for such a good compliment:) When I was a kid I was addicted to amazing views, beautiful things and bright clothes. My dream was to have a professional camera so I can to have my own time-machine and to stop time and to show all these beauties to my friends and family. I worked as a waiter to earn money and to buy it. At the age of 17, my dream came true and I got my first professional camera. Since then I took photos of every single moment and people. It was lifestyle photography. After few years I started to work as a photographer, I took photos for weddings and some fashion photo shoots. Along with photography, I started to learn Photoshop, LightRoom, and Capture One software. After some time I found that I
love retouching, that I love to do magic, to do from the raw image some incredible result. You even can be a newer, unexperienced photographer but with the good retouching, your work will look like a “sweet candy”. CBMag: Can you describe your process? From receiving an image from a photographer to finishing an image?
Tanya: At the beginning stages, I need to understand the vision of the photographer and understand his vision because I want to implement all his wishes in the final photo. So in the beginning stages, I talk to the
photographer and try to get all the information… if he has a reference or a sample photo I ask about it. Also, I try to understand if he prefers to use liquify on his photos or not. What color-correction should be there, and what color-tone should be on the skin and so on... If the client completely trusts my vision and my “retouching senses” I will deliver to the customer the best result.
CBMag: Your work is super clean, and very classy. Is that what you are typically going for? Or is it typically what the photographers
If the client completely trusts my vision and my “retouching senses” I will deliver to the customer the
photographer, but I think it’s more my vision. I’m trying to show the best sides of the female or male model. After showing the strong sides of the models they look really attractive. CBMag: What inspires you to work on an image, for hours on end, making everything SO perfect? Tanya: My inner perfectionists! I am really addicted to doing everything really perfect. Sometimes after hours of work, I can start the process all over from the begging to get the best desired result. It’s my work, but it’s also my hobby and I really love it. CBMag: How could retouching change in the future? Tanya: I think at some time the retouching industry will disappear. Because everything is changing, some phone apps can do simple retouching. Also artificial intelligence is coming, and nobody knows how it can change the whole world. Some big industries like medicine, law, and the IT industry will completely change.
CBMag: Do you have any favorite photographers, makeup artists, hairs stylists, stylists, or retouchers? What is it that you like about their work? Tanya: Every single photographer has his own vision and I really love it. The same with the retoucher, hair stylist, and makeup stylist everyone has own sense of style own style of perfection. So I can’t identify one person, I love to work with everyone! CBMag: Freckles….leave em or heal em? Tanya: It’s up to the photo, I need to understand who the model is, how old they are, what is the desired result and what the final result should be?! For me I like to heal them a little bit.
It’s my work, but it’s also my hobby and I really love it.
Every single photographer has his own vision and I really love it. The same with the retoucher, hair stylist, and makeup stylist everyone has own sense of style own style of perfection. photographer, but I think it’s more my vision. I’m trying to show the best sides of the female or male model. After showing the strong sides of the models they look really attractive. CBMag: What inspires you to work on an image, for hours on end, making
everything SO perfect? Tanya: My inner perfectionists! I am really addicted to doing everything really perfect. Sometimes after hours of work, I can start the process all over from the begging to get the best desired result. It’s my work, but it’s also my hobby and I really love it.
Photographer: Retoucher 20
CHARLIE OCTAVIA
TANYA DASHUKOVA 20
F ROM THE
Creative Beauty magazine was created to provide insight into the Beauty industry that you may not find elsewhere. It gives you the stories and inspirations from Photographers, Makeup Artists, Hair Stylists, Retouchers, Stylists and those aspiring to the industry in addition to people who just love awesome beauty editorials, or art lovers of the world! We like to explore the arts and cultures of the creative photography and beauty community and provide resources to help creatives explore and create their own images. I started this magazine because
EDITOR R I C H
H E A T O N
I love looking at interesting beauty editorials and feel there are many out there who may love the same, and those who are behind the scenes who are so talented and inspiring that should be celebrated for the artists they are. So often Photographers are given accolades for everything that happens in a shoot, but amazing imagery would not be possible at all without the talents and skills of stylists, models, retouchers, makeup artists and hair stylists to pull looks from concept to reality. Therefore we will be interviewing and highlighting the works of some of these amazing established and up and coming talents, and running editorials in themes where an artist can submit one image up through several to fit within an editorial theme. I hope that you enjoy this work as much as I have enjoyed putting it together, and I hope that it inspires you to think outside the box, push your boundaries and celebrate Beauty Photography and the beauty industry as a whole for the art form that it is!
MODEL TALK
Shaholly
Ayers First Limb
Different Model To
Walk in W NYF without a Prosthetic
I’m here today with Shaholly Ayers from The Megan Kelly Show, New York Fashion Week, Nordstroms, Tommy Hilfiger, The Today Show, Disfunktion Magazine, Shape Magazine and many others. We just finished watching episode 3 of Game of Thrones Season 7 and we were talking about modeling and photography and thought it might be a good idea to give some tips to new models out there.
CBMag: What are some good ways for a person that wants to be a model to start doing it? Shaholly: If you don’t have a portfolio, and you are new to modeling, the very first thing I would do is to get a lot of fashion magazines (editor note: Especially Creative Beauty Magazine) and study and practice different poses. Then I would look at Instagram, or maybe Model Mayhem (if they are still used) to find a photographerto do your first photoshoot. It might even make sense to pay for your first or first few photographers because then you know you are going to get quality images and learn how things are supposed to work fo your
I would say you want a good variety. And I’m bad at this but you want to have a very friendly headshot. Just a headshot where you are smiling. You want that for anything.
next shoot. That’s where I would start. I wouldn’t pay a lot of money, maybe a couple hundred dollars for 5 edited images. CBMag: What would be a good mix to have in your portfolio for potential clients to see to determine if they want to work with you? Shaholly: I would say you want a good variety. And I’m bad at this but you want to have a very friendly headshot. Just a headshot where you are smiling. You want that for anything. CBMag: SO not a lot of makeup, natural looking headshot? Shaholly: Well ya, you can do some makeup like a smokey eye or something but I wouldn’t go overboard with the makeup. But clear, nice skin and a clean look. CBMag: Any tips on having nice skin? Shaholly: Yea, make sure you are hydrated, drink a lot of water. Make sure your eating good food. I mean if your gonna model your gonna have to look into your lifestyle habits, but I would definately be hydrated and sleep well before a shoot! CBMag: So eating a lot of Lays chips and
French Onion dip, is that on the approved list of reccomended eats, or what?
Shaholly: Haha! Not on the regular!
It might even make sense to pay for your first or first few photographers because then you know you are going to get quality images and learn how things are supposed to work fo your next shoot.
On Cheat Days! CBMag: Wow, so when your a model do you get whole days to cheat or just mealslike once a month? Shaholly: I have cheat days...haha CBMag: Maybe if your Shaholly Ayers you can have entire cheat days! hahaha But maybe if your starting out maybe one meal is a good starting point haha. CBMag: What else did I want to ask you? Oh yea. You and I share the love of looking at photos. We both like looking through peoples editorials and different ads etc. because to me it’s art. It’s really looking at art and I think that’s why we like to work together. We both like to create in this artform. When you are looking at Photography, what are you drawn to? What do you like to see, what is interesting to you?
Shaholly: It’s funny because I like a big spectrum. Like I can like a commercial. work, like I can like Tommy Hilfiger, something a lot more clean and reserved and then I can like something Alexander
I mean if your gonna model your gonna have to look into your lifestyle habits, but I would definately be hydrated and sleep well before a shoot! Mcqueen, like very edgy photos CBMag: Nick Knight bebe! Shaholly: haha! (She knows I’m a big fan) I do like when it’s different and when it’s executed well. CBMag: I’m with you on that. It’s so easy at this stage of my experience to tell what I consider to be good work from maybe not so good work. Or maybe how experienced is this photographer. You can REALLY tell. I think that’s your eye and that it really takes time to develop your eye for detail and what just generally looks good. I thought when I first started shooting years ago that blurred skin and really over saturated colors looked amazing! But now I look back and think my god theis work is terrible! Shaholly: Haha. Yea you develop your eye. For sure. CBMag: And I think that’s very important for people to pay attention to, to learn
what is looking good, what is working and what isn’t.
Shaholly: Well thats the thing to keep in mind as a model as a beginner is that what you think might be a good photo at the beginning you might go back later and look at your work and say “Ok, this isn’t my best work and I’m going to take this out”. And it’s a good idea to only use your best photos in your portfolio that you ever show. You don’t need a lot.
CBMag: What do you think is a good round number to keep in your book? Shaholly: At least 5. 5 SOLID looks. If your just starting out, 5 different, well executed photos. Especially in a print portfolio if people like to do those anymore.
CBMag: People DON’T do them anymore, but I think they should because it is different and it stands out. I went to this show this past weekend and they had some printed work and I was
Every single photographer has his own vision and I really love it. The same with the retoucher, hair stylist, and makeup stylist everyone has own sense of style own style of perfection. all about the quality and experience of large printed photos. They made an impact. Shaholly: Well now that I know I will stop bringing mine! CBMag: When you go on a shoot with a photographer, like a new photographer what is the proper etiquette to use? Shaholly: Don’t eat chips off the ground. CBMag: haha! Don’t eat chips off the ground, or don’t eat cheese off the ground either. Doesn’t go over to well. hahaha
Shaholly: Inside joke! OK so whats the question again? CBMag: Ok, so how do you normally go about getting a shoot together and working with someone new?
Shaholly: I like to work with the photographer ahead of time, but again
I’ve been doing this for a while, and sit down with them to figure out what we are both trying to get out of it. And by doing that you are setting the stage for the actual photo shoot. You want to know what the photographer needs from you, like what kind of poses and what you are supposed to be portraying in that scene. CBMag: What do you think is a good round number to keep in your book? CBMag: So let’s say for example it’s an underwear shoot, so you want to find out what the location is going to be, what kind of poses to practice, what should the feeling be etc. Shaholly: Yea exactly. Look at other photos that you like to try to get good ideas for how your body should be positioned and what kinds of expressions work. I wouldn’t
Flowers F
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Model
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SHAHOLLY AYERS
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Photographer
RICH HEATON
Flowers: Ocean Dreamer Florals Pamakane
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Makeup
KIMBERLY ULEP
Hair
KAT BACHLOTTE
Flowers: Crafts Way Aiea
work. I wouldn’t say to copy anything but using other peoples work for good ideas is fine. Although on your first few shoots you really shouldn’t be modeling underwear. Wait until you have more experience and know how CBMag: So your going to have your butt cheeks all clenched up and your going to just be too stff and won’t enjoy the experience? Shaholly: Exactly. Stick with the headshots to start with. CBMag: Here’s a trick that I’ve heard (and seen work well. If you have a certain angle that you take selfies from, that’s probably a good angle for you so make sure to get some photos from that angle.
Look at other photos that you like to try to get good ideas for how your body should be positioned and what kinds of expressions work. I wouldn’t say to copy anything but using other peoples work for good ideas is fine.
Shaholly: That makes sense you can try different angles, but if your using a proffessional photographer, they will know which way to shoot. Another point is, usually they will have some kind of lighting setup, and you need to make sure you are somewhat facing the
light. That your face is facing the light. They will tell you where to stand, but you want to have light on your face. Like if there is a light on the left side, you don’t want to be looking to
the right, because then your whole face will be in shadow. CBMag: Sometimes we play around with stuff like that as photographers, like being more back lit, or more side lighting, but it
You mostly want your face pointing toward that direction, but you also want to move around some so not all your photos look the same.
camera, and I am all stiff, and my cheeks could turn coal into diamonds. I know a lot of new models are the same way. So what is your advice to be more relaxed? Do you still get clenched up?
Shaholly: I do! I still get
Different facial expressions and it’s all about the eyes, like Tyra Banks says you have to“Smize” smiling with your eyes. It’s all about your eyes,
clenchy when I don’t know someone. I still clench it up! hahaha. But I do this thing where first of all I don’t think about it, and I kind of have to put my mindset like I’m not Shaholly , I am almost void of myself. CBMag: So you find your happy place? Shaholly: Kind of like you go outside of yourself. Like a meditative state. But I’m always thinking of what is the ultimate goal, what is the image going to be CBMag: So what you are doing is to get an idea of what the end result is going to be, then how does that translate to you. And then you try to feel those feelings to really sell the concept.? Shaholly: Exactly. I try to feel it CBMag: I think this
is something you learn through experience but your images will always show your emotions very clearly, the connection between you and the photographer in the moment is always apparent. You can tell when someone is disconnected. Shaholly: Posing is also really helpful. CBMag: So do you learn different poses? Shaholly: Different facial expressions and it’s all about the eyes, like Tyra Banks says you have to“Smize” smiling with your eyes. It’s all about your eyes, having a relaxed face. Like you don’t want to be clenching your jaw, unless your a dude and then that makes your cheek bones look amazing!
CBMag:
Any final advice for new models that you would like to share? Shaholly: Don’t be afraid. When I first started shooing I did a shoot where I wasn’t at all happy with how the pictures were looking and I was so anxiety ridden that I had to go. So I left. But then I did decide to try it again and after doing it a few times I got more comfortable. I would reccomend going with a friend to your first shoots that should beok. Definately if the gig sounds shady it is shady. There are people out there we call them GWC’s or guys with cameras who’swhole trickis to pickup girls by pretending to be photographers. There is no need to get naked if you don’t want to, and especially when you are first starting out. Atfirst, I’m serious do head shots, then go
from there and goin to the creative. a good idea to look through their book and also talk to other models that they have shot with to see if everything is alright. I’ve had to do that before and models will say they are fine. Also know your body. Know what kind of angles work for you. You can practice in front of the mirror. Know your body. Like if you have bigger hips, pushyour hips back when you are shooting, turn to the side, put the weight on your back foot, pop your hipout. Also whatever is closest to the camera is the largest so could be your boob sor your eyes etc. And try to elongate your body so it doesn’t look compacted and smaller. Also in your posing try to have curve sin your body, it looks better to the camera.
Thank you!
I was born in Kiev on Nov 25th 1985, in a family of geologists. As a proper soviet kid, I was taught to use science, reason and common sense and try to be good and useful – only to see how all these things did not work out for my parents later in the 90th. At 17 years old, I went to Moscow Institute of Physics and Technology to start my own life. As the time passed, I started to discover My name is Aliona Kuznetsova and I am things within a photographer. I believe that my art is a me that were mashup of everything I saw, felt, thought and not useful experienced. More than this: through all my for a young life – four countries I lived in, dozens of cities engineer I was I travelled to, a mood disorder I am battling, becoming: deep meeting and losing my closest friends – my overwhelming art has been a silver lining that helped me day emotions, by day to refine the understanding of who I mood swings really am. and the need to engage with people on a deeper, empathic level. All of this, plus the profound understanding of the properties of light, formed my new hobby – photography. Before long my new hobby became a full time job. For a year I polished my skills in a studio working as a portrait photographer. This work brought me a good understanding of faces and experience working with people outside the fashion industry. It also gave me an understanding of how to express strong emotions in a subtle way. But I felt that portrait photography still lacked the tools for me to express myself, so I started to work in fashion. After my studies I moved to Switzerland. Six years there brought me my first serious success: publications in Forbes, Marie Claire, Elle Swiss and many other magazines, collaboration with the leading model agencies and designers, but also few rough patches, like being diagnosed with a mood disorder and losing my dream job over the stigma of it. All in all, it formed my vision of
Background Image: Created by
Bedneyimages - Freepik.com
the art as a tool for direct empathy, which does not require words. Too often, people who are going through strong complicated emotions find themselves estranged from those around them. But discovering an art piece – a song, a painting or a photograph – they can feel connection to someone else who felt the same way. My art can be seen at Liquid Art House, Raw Artists Showcase, and as my personal exhibitions in the Trade and La Voile. Please join me as I continue my journey by traveling all around the country throughout next year, exploring the art and fashion landscape of the US outside New York and Los Angeles.
INSPI RATIO N Some creatives who really inspire me are:
Peter Lindbergh
because of his truthful approach and “loving”, warm vision of models;
Tim Walker
because he creates totally different world with his works, and this word is worth escaping to;
Gabriel Garcia Marquez
because his technique is so good he makes people take in absurd things and perceive them on totally different level where they make sense.
I worked on this photoshoot during a very rough patch in my life. During just a few weeks I was diagnosed with Bipolar disorder type 1 and lost my job. At times it was very hard and I felt like I can’t breath, which made me create this series called “Breath In - Breath Out”
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Model - Leila Tahiri; MUAH - Elisabeth Peclard; Direction, photography and postprod
BLING
Photo HaiR and Makeup Model
Rich Heaton Chanzen Loo Katelyn Kay
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here today with Ry-n Shimabuku, he is a Makeup Artist and Hair stylist from Hawaii. We are excited to have you here today. I have been wanting to work with you for a while. Today we are going to be shooting a concept that Ryan and I teamed up on, which we called kind of a WET look.
VIDEO
CBMag: Ryan can you describe some of your thoughts on how you could take that concept and make art with it?
“
In my mind I’m
Ry-n: The first thing that I thought of when I was presented with the theme of liquid of wet was not to go to the beach! Haha. Because as fun as the beach is, they are beautiful here but everyone shoots at the beach all the time, so I wanted to do something a little different. For me I, because I am always trying to work against water, trying to keep makeup nice for stage shows, and weddings etc. and I am always working against water I wanted to make a change, and take a look at how I can work with water or liquid and make it flow with my work, or even embrace the fact
thinking that when
you take your makeup off everything starts
breaking down and how I can incorporate that
“
element with the work that I’ve done
Beauty
that it will break down at some point. CBMag: So now instead of trying to keep everything on, and keep it nice and tight, it is more of a let loose moment where we can play around, and go a little crazy! You came up with 3 concepts / looks that you wanted to try today, can you go over what those were? Ry-n: Tying in liquid with beauty I wanted to do some really clean, fresh skin. Playing around with different textures and incorporating wet hair into that look. The second look I wanted to do was based off water colors. In my mind I’m thinking that when you take your makeup off everything starts breaking down and how I can incorporate that element with the work that I’ve done. The third look I wanted to do was kind of a melting look. Because it is so hot and humid here in Hawaii everything starts breaking down pretty quick, so I thought it would be cool to take a melting concept and work with it instead of trying to work against it. CBMag: When did you start getting interested in makeup and why?
Beauty
Beauty
Ry-n: I was always interested in the beauty industry. I didn’t think makeup would be my thing. I thought it would be more hair, but when I started working it was more about makeup. I think that has to do with my background as a kid doing painting and drawing, so makeup seemed like the next step into the beauty industry for me.
There are a lot of other makeup artists that pop up on my radar but I try not to, because the more fashion or editorial stuff I do I like to try to come up with the concept originally.
CBMag: And when did you start doing makeup professionally? Ry-n: Well I started playing around in High School, around 17 years ago and it has been a career for a little over 13 years. It started when I was working at a cosmetics counter and people would see me there and remember me because I was the only guy there so I got pretty good attention and advertising that way, and my career kind of took off on its own. CBMag: Awesome, so a lot of coconut wireless (A Hawaii expression for word of mouth) referrals, stuff like that? People were happy with your work so they told their friends? Ry-n: Exactly CBMag: What types of makeup do you do? Ry-n: I do a lot of weddings, a lot of people get married here in Hawaii, and it’s a beautiful place to tie the knot. I do a lot of stage, always with Miss Hawaii USA amongst other prelims for the girls. Some other pageants too like Miss Maui Philippina and Miss Hawaii Filipina. I have private clients who call me for makeup for events. I have private clients who call me for Hair and Makeup for events. I also do stage
shows. I’m working with Burning Love on Maui which is Darren Lee’s show. He’s an Elvis tribute artist from Vegas, for the past three and a half years. My other client Amy Hanaialii Gilliom is opening her Hawaiian room back on Maui and I will be taking care of her on show nights too. So I have a pretty good mix of business. CBMag: What do you love about doing makeup? Ry-n: I think the transforming power that it has. More than that, it’s when you look good you feel good and a lot of my work is enhancing beauty rather than masking it or changing it, especially with weddings and pageants. I think what I like best is that I can help my clients feel good about how they look. CBMag: Are there any makeup artists that inspire you? Ry-n: Yea, I love the editorial work from Pat McGrath. Matthew Anderson is a great talent as well. There are a lot of other makeup artists that pop up on my radar but I try not to, because the more fashion or editorial stuff I do I like to try to come up with the concept originally. I don’t know if that’s pride, wanting to be original, but I feel like I might be cheating if I draw too much inspiration from someone else’s work. CBMag: So you like to flex that creative muscle and do your best to not accidentally use other influence. Ry-n: Yes, I like to challenge myself instead of changing something a little bit that I have already seen. CBMag: I can totally relate. How
Trying to Make Photoshop do you think your eye has developed over the years? For those who may not understand, your eye basically means you sense of what looks good and interesting vs. what doesn’t. Ry-n: I am totally self-taught, so I bought books and practiced on friends etc. So when I first started learning to do makeup I didn’t know anything about Photoshop, so I thought that all of the images I saw where everything was so perfect was because of the model and the makeup, so I was always trying to achieve what in hindsight was impossible. CBMag: Do you think that heightened your skillset because you were holding your work to a higher standard? Ry-n: I think it did, because I’m pretty detail oriented and I like everything to be perfect. It helps, but it’s also a detriment, like when I’m pressed for time and I can’t get all the details right it frustrates me. But I think trying to make Photoshop in real life really helped me to perfect my skill. I think the trend now, and I have worked with some big name makeup artists
who don’t try to be so perfect and not everything is 100% perfect but it makes for a beautiful result in the end anyway. So I think finding a balance of insanity and laziness is what I’m trying to achieve. CBMag: Speaking of some of the people that you have worked with, on your Instagram you have a picture of Amber Rose shot by David Lachapelle where you are credited as the makeup artist. Can you tell us about that? Ry-n: I’ve worked with David for a few years, on multiple jobs and he lives part time in Maui, and while he’s there he’ll shoot sometimes. For that picture, I was on a shoot with him working on his new coffee table book, which is on display in galleries now. I was on that shoot, and Amber Rose, who is a friend of David’s called and needed her book cover shot, so he told her to come out to Maui because he had a full crew. Wardrobe, styling, hair and makeup etc. So she flew out, and she was nice enough to have me take care of her for her book cover which is a huge deal, I know she has her own makeup artist she works with.
In Real Life CBMag: Is there anything that you learned working in these bigger productions that you can take with you to other shoots in the future? Ry-n: I think the biggest thing I noticed was how he doesn’t settle. I mean that in a great way, because if I have a concept that I want to shoot, I know how I want it to look, and if it’s your brain child you need to have all the details lined up, and make sure everyone is on the same page . I feel like with David he doesn’t settle for anything less than what he knows it should be. I really admire that because I don’t know a lot of people that really have that work ethic. It’s very rare to find someone who is that passionate about their job and creating what they want to create. CBMag: And I would guess that’s why you become the best, right? That’s the big differentiator. Ry-n: Yea, that’s why he’s done so many great things! CBMag: What’s your normal creative process for doing editorial shoots? Ry-n: Sometimes I’ll come up with an idea, just pull it from out of nowhere, and it will stick with me and I will expand on it in my head. OR I will work with a theme, like we are doing today with the “Wet” or “Liquid” Theme. I like to let it mull around in my head for a while and I try to come up with what I want to do. To me what’s important is that it kind of fits a complete story because if you don’t you aren’t really saying anything.saying anything. CBMag: So in the back of you’re mind you like to have some kind of narrativ working from? Ry-n: Right, exactly, like for this we are just having our model with wet hair, it’s all of the looks tying together and meaning something on the whole. CBMag: I like how you came up with a back story for this as well, like for this one you said that normally you are trying to keep the dampness out of the makeup you are doing and keep away the decaying of it but this time you are trying to go with it. Kind of personalizing things. Ry-n: Yes, I think if you have a complete story it really helps expand on what your work will be. CBMag: Do you have any advice for people just starting to learn to do makeup? Ry-n: I would say buy the best product that you can afford. I spent a lot of time building my kit with crap, basically and quantity over quality and that was a mistake. So buy the best you can afford and don’t be afraid to make mistakes, because that is how you learn. Be open to criticism. Be willing to fail. Go into makeup with an open mind and don’t take things too personally. The most important
“I love MAC for skin for foundations and concealers”
“Buy the best!” thing to me is that my clients feel comfortable, even if I don’t think it works best, because at the end of the day if she feels comfortable and beautiful it’s good for me and good for her. I want my clients to be happy. CBMag: Do you recommend different types of makeup for different situations, is there a certain type of makeup you
shooting under strobe (or studio lights)?
Photoshop is great, because it can smooth out any imperfections that
use in studio under strobe vs. Ry-n: When shooting under strobe things
makeup can’t. We can change color
can get a little washed out so in that case I
but we can’t do much about texture.
Ry-n: I love MAC for skin for
will go a little heavier. And for stage shows
But when it’s over done, like way too
foundations and concealers.
too, you have to go a little bit heavier then
much and you look like a plate, that’s
I feel like they have the best
what you would day to day. I always try
not a good look and it’s obvious that
color range. I’ve tried a bunch
to figure out what the lighting will be
it’s not my work that showing through.
of different foundations and I
like and make slight changes but even
still like MAC the best. As far as
so if it looks good in person it will still
photography goes, I feel like if
look good regardless of the lighting
it looks good in person it will
conditions.
a bride or pageant makeup?
look good in camera, whether it is HD, or film or whatever.
CBMag: Is there anything
You have to be a little more
photographers or other creatives can
careful with HD, but if it looks
do, to improve the process of working
good in front of you it should
with a top makeup artist like yourself?
translate really well in camera.
Ry-n: I love collaborating on projects CBMag: Do you think when
because I feel like when I do it pushes
shooting under strobe that
me outside my boundaries a little.
I’ve noticed sometimes
When it comes to photography I like
color seems to get a little
photographers who don’t mess with my
washed out. Do you do
makeup too much. like changing the
anything differently when
temperature too much or altering color.
CBMag: And in that situation it’s almost like it was a waste of a shoot and of everyone’s time, right? Because poor editing can very easily make work unusable. I highly recommend working with talented retouchers if your editing skills aren’t to the point where your images are usable in most situations. Ry-n: I think a light hand when it comes to Photoshop is the best for that reason. Doing what you need to do as a photographer, but not crossing the boundary into
changing my work. With a collaboration you have to be open with what you expect to give and receive. CBMag: You also make amazing head pieces. I know some were featured exhibits at the Honolulu Academy of Art. I saw them, they were awesome! Can you tell us about those? Ry-n: Yea Koa Johnson (a local and very edgy and talented Hawaii designer) made this great Ti-Leaf dress and it was going to walk down the runway, and when it came to hair I couldn’t think of anything that would do it justice, so I decided to do a headpiece for it and I came up with
WE CAN CHANGE COLOR an Ikaika helmet, Mad Max kind of thing that we felt really set it off and complimented the dress and really helped complete the look. So now it’s become a tradition. Now I try to come up with something that will compliment, whether it be a headpiece or I did wings once, jewelry or what not. Something like that. CBMag: I am a big fan of Koa’s work. How can people follow and reach you? Ry-n: On Facebook, Ry-n Shimabuku Makeup Artist. On Instagram @Rydashn, same for twitter. I also have a YouTube series under Rydashn as well that I will be starting up again. CBMag: Thanks Ry-n! time Ry-n Ry-n: I think a light hand when it comes to Photoshop is the best for that reason. Doing what you need to do as a photographer, but not crossing the boundary into changing my work. I’ve never had a huge issue with that, planning and collaborating ahead of time really helps with10 that. With a collaboration you have to be open with what you expect to give
BUT WE CAN’T CHANGE TEXTURE and receive. CBMag: You also make amazing head pieces. I know some were featured exhibits at the Honolulu Academy of Art. I saw them, they were awesome! Can you tell us about those? Ry-n: Yea Koa Johnson (a local and very edgy and talented Hawaii designer) made this great Ti-Leaf dress and it was going to walk down the runway, and when it came to hair I couldn’t think of anything that would do it justice, so I decided to do a headpiece for it and I came up with an Ikaika helmet, Mad Max kind of thing that we felt really set it off and complimented the dress and really helped complete the look. So now it’s become a tradition. Now I try to come up with something that will compliment, whether it be a headpiece or I did wings once, jewelry or what not. Something like that. CBMag: Awesome…I am a big fan of Koa’s work as well. How can people follow and reach you? Ry-n: I’m on Facebook, Ry-n Shimabuku Makeup Artist. On Instagram @Rydashn, same for twitter. I also have a YouTube
WET Makeup: Ryan Shimabuku Photo: Rich Heaton Model: Ashlee Kozuma
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Behind the
Editorial
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By Cindy Rue
ditorials are used to illustrate a story or article within the context of a magazine or other print formats. It takes more than just a pretty face to create a beautiful editorial: It takes a team of creatives working together in a collaboration. It’s all about a good concept and the right execution. When my career as a hairstylist and makeup artist started 20 years ago I had no idea where it would take me, but I always knew that no matter what obstacles were put in my way I would work my butt off & push the limits to make a name for myself. When I started to delve into Session styling many years ago I knew I had found my calling. I have travelled the world working as a hair stylist and makeup artist. With an extensive portfolio including editorial and runway session styling, photo shoots, TV commercials, competitions & awards. My work has been displayed in over 150 salons around Australia and New Zealand and has been featured in many Australian & international fashion magazines including VOGUE Italia. As a session stylist it’s my roll to prepare the hair and makeup for models, celebrities and actors about to step out on the catwalk, photo shoot, film set or red-carpet event. Session styling involves creativity, focus, imagination, skill and application. It is a pretty wonderful thing to see your work in print and even more so to see
Photography & Editing: Robert Coppa - Photographer Hairstylist: Cindy Rue Talent: Akari Makeup: Amy Narayan
Photography & Editing: Robert Coppa - Photographer Hairstylist & Styling: Cindy Rue Talent: Jessica HM Makeup: Amy Narayan
your name in those glossy pages but there is a lot of hard work that goes in behind the scenes to get the results of a publish worthy editorial.
images, it is important to use these as they are intended as inspiration! You don’t want to copy anyone’s work and you should never be asked to.
If you are hired to do the hair and makeup for a photoshoot then it is important to be able to communicate and understand what is asked of you. You usually will be shown a mood board or inspiration
If the photographer has complete trust in you and you are given creative control over the hair and makeup make sure you stick to the theme and the styling. It is
Hair & Makeup: Cindy Rue Photographer & Editing: Juzz Photography Model: Hanna Y. Model/Actress Designer: AY Couture Melbourne
great to show off your skills but if it doesn’t suit the theme then it can spoil the end result. Taking a brief and translating that into your work can be a bit daunting to begin with but the key is to be confident, know your stuff, listen to the team and use your imagination. I love to let the hair or face lead the way. I love to work with the natural direction of the hair and focus on the strongest facial features. I will create my styles based on how I am feeling in that moment. Sometimes I can change my mind 10 times creating one style and other times I will whip up a do in a few minutes without a second thought. I like to work independently and quietly, I will always let my models know to not be offended if I am not very chatty. When I am on set I am 100% focused on what I am there for. Inspiration is living and breathing all around us. You just have to keep an open mind. I have always been one of those people that
Photography & Editing: Robert Coppa - Photographer Hairstylist & Styling: Cindy Rue Talent: Jessica HM Makeup: Amy Narayan
takes notice of small details.I never know when the next big idea will come. It just will, in the least expected way, at the least expected moment. I also have many talented friends, most of whom are in the industry. We collaborate together bouncing ideas off each other. It’s super fun sitting around with other creatives coming up with ideas and concepts and getting excited about what we are going to create. One of my favorite quotes that always inspires me to stay on top of my game is; “Learn the rules like a pro, so you can break
them like an artist.” by Pablo Picasso. Trend predictions: In Fashion - We can see the 90s era making a massive appearance on and off the runway in the coming months. Sequins, check prints & ruffles.. Yes you read that correctly; Ruffles! In Hair & Makeup - Accessorise with scrunchies, banana clips, accordion headbands, pop art colourful shadows & eyeliner and if you’re not a bold colour babe then earthy toned lips will be you go to look for the coming months.
Barbara Izik is an aspiring new artist from Hungary. She has had a love of fantasy since she was a small girl. For work, she is in an architectural glass making factory. Q: What are you using to make your instagram art? A: I use picture, pixir, mirror image, picsart and snapseed Q: What kind of art do you like? A: I like art that is not on the surface level. That you has more than one meaning. Q: Who are some artists that inspire you? A: I like Salvador Dali, Garreth Pugh and Alexander Mcqueen, and Iris Van Herpen
Thank you Barbara for sharing your work with us!
Instagram Discoveries Barbara Izik IG: @csulparts Age: 26 Location: Hungary
When w e were k ids we used to love playing w ith stick ers. Wh en we g
STUCK row up. we........ .....
...
Photographer: Rich Heaton @Richimages808 | Makeup: Remy Reed @RemyReed |Model: Jazmine Bazan @_itsjazzb Hair: The Attic Salon Hawaii @AtticSalonHI
MODEL: MICHAELA SPAULDING HAIR AND MAKEUP: NATALIE TAGUDING
Photographer: Rich Heaton @Richimages808 Model / MUA: Mandy Butler @Mangomeow
PHOTOGRAPHER: RICH HEATON @RICHIMAGES808
MODEL: EVALYN FROST @EVELYN_FROST MAKEUP: ANISHA INAMASU @ANISHALAYSHALIYAH
PHOTO: RICH HEATON MODEL: KATELYN KAY HAIR AND MAKEUP: CHANZEN LOO
Kat Nankoa is the owner and lead stylist at The Attic Salon Hawaii. CBMagazine: We are here at the with the owner and lead stylist Kat. Can you tell us a little about yourelf and your studio? Kat: I’m located at 1272 South King St. Suite 202. It’s a cool, creative studio Salon where I am the lead stylist and owner.
CBMagazine: Why did you first get interested in hair? Kat: It started with Baribies. I used to always cut the hair off my barbies as a kid, and my mom bought me one of those big Barbie heads that was popular in the 90’s. I would cut the, hair curl it, style it and that was the beginning of what turned into a carrier!
CBMagazine: And what is it that you love about doing hair? Kat: It’s the creative freedom! And self esteem comes from hair! When you get an amazing hair cut or get a crazy cool color you just feel good! You can see it on people. I can be creative and give people this great self esteem, there is no
PERFECT PASTEL
better reward then that! CBMagazine: What do you find challenging about being a top hair stylist? Kat: People knowing your worth. As hair dressers we spend tens of thousands of dollars to get educated and are constantly spending money to stay up to date so that we can give our clients the best styles, cuts colors, so it is a challenge to have people debate your price with you or question your worth, and I think all stylists kind of have that problem where clients want to bargain with them, but they should know that you get what you pay for.
CBMagazine: I know the answer to this one, but have you ever done an editorial photoshoot before?
Kat: Yes I have done quite a few actually. I love it. Being a stylist I’m behind the chair all the time, and being able to get away from that and let the creativity flow freely and do crazy hair styles is great. There is no limit to what you can do and create! I think that’s a great outlet and I think a lot of hair stylists should get into that.
CBMagazine: There is an editorial that
you did with some Victorian wigs that I thought was amazing and made me want to work with you. Can you tell us about that?
Kat: Oh the Mary Antoinette! It was for a hair competition. I had a dream about the Kirstin Dunst Mary Antoinette and I became so inspired, like I need to make huge Victorian-esque hair pieces. So I literally went down to the hair store, bought a ton of extensions and just tweeked out on making these crazy, fluffy wigs to match each of the models and somehow it came together! I even had my mom sewing those little
“As a hair stylist you have to have that mannequin head out and be practicing the look before the shoot day if you want a good result. “
neck pieces. It was a whole family effort, but I have never been more inspired! I’ve gotten a lot of great feedback from that.
CBMagazine: As a photographer, what is it that we can do, or other creatives
can do to improve the process of getting those types of images or working with the hair stylist?
Kat: I think the best shoots I have ever been on have been a collaborative process with the makeup artist, photographer and hair stylist and we are all honest about what works and what may not. What is really good is for the photographer to layout his vision of what he wants to accomplish and then me and the makeup artist can come up with ways to make that vision come to life. The photographer
w
is going to know what’s going to photograph well and I can know what styles we should go for.
CBMagazine: Do you like to plan ahead of time, or just go on the fly or a little mix of both?
Kat: Both. I’m a planner. Earlier in my career I used to just wing it and it was miserable! You need to have like 5 hair s styles that you can pull out and you have to plan. As a hair stylist you have to have that mannequin head out and be practicing the look before the shoot day if you want a good result. On shoots there is always an aspect of surprise, because you show up on set and the models hair won’t work with that hair style, because every models hair is different. So you have to be able to tweek things on the spot.
CBMagazine: Do you have any hair stylists that you admire? Kat: Yes! Besides updoes, I’m a colorist. That’s actually my specialty first and foremost. My favorites are Guy Tang, he’s amazing! Also his friend Rebeca Taylor, who I had the pleasure of taking a class with when she came to Hawaii. We don’t get a lot of revolutionary hair stylists that visit Hawaii so when we get the chance I take it, and I recommend other stylists do the same. CBMagazine: Where do you see yourself in styling in the next 5 years? Kat: Hopefully I can travel more, and start taking work overseas, and collaborate with talented creatives who our styles work well together.
CBMagazine: Awesome! And where can people follow and find you? Kat: I’m on Instagram at @atticsalonhi and find me on yelp at The Attic Salon
CBMagazine: Thank you so much Kat….and let’s get to the shoot!
The H
London By Sinead McGowan
ello lovely new readers, my name is Sinead and I am a London based Makeup Artist and Social Media Manager of sorts. In a nutshell, I left my full-time job some years ago to go freelance and pursue my dreams. In my free time, I am a slight culture vulture and love finding random gems around the city, from pop up markets and bars to Beyonce themed spin classes, I love experiencing new things and take huge inspiration from everyday life. I’m excited to share with you the latest beauty trends all the way from the big smoke, hope you enjoy! I feel the London ‘scene’ is a very cool but minimal makeup look for long days and nights. I’m a makeup artist and I don’t even wear a lot of makeup, people here want it to be durable but minimal for burning the candle at both ends. This spring everyone wants that radiant glow, this doesn’t necessarily mean shiny, but keeping the
skin looking like skin with worn in eyes - like Kate Moss meets Cara Delevingne. The season ahead will see makeup moving back, we’re talking brushed out brows and a pop of colour for natural beauty. I recently attended a masterclass at the Bobbi Brown flagship store here in London with two of my idols, Sam and Nicole Chapman (aka Pixiwoo!). Whoever said that you shouldn’t meet your idols was lying, don’t listen to them. It was amazing to see Sam and Nic do their thing in person. For creating worked in eyes that still look on point, they suggested “adding a little bit of something of interest, like mixing cool and warm tones - it’s unexpected”. As you can see on the beautiful model Coco, Sam buffed in a warm bronze shadow stick and worked over the top with a baltic blue sparkle
LOOK liquid eyeliner to give the look a bit of edge. During their demo, they highlighted that “lightly layering your products is key to make your makeup last longer.” This also applies to your skincare, layering products creating a hydrated base will help the skin to glow from within. Illuminating moisturisers, balms and primers are perfect and are a great multi-use product to use on top of your makeup, as Sam said: “the
excitement is breaking the rules, mix skincare and foundation around for the best results”. What do you think of these latest London beauty trends, is this something you could wear as well? I’d love to hear your thoughts and questions, feel free to reach out to me on Instagram and Twitter at @ SineadyMcG.
Finding Your Best Light - Rich Heaton
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nderstanding light and learning to see it are crucial skills for any photographer. Lighting can and frequently does make the difference between a bad photo and a beautiful photo. I am going to cover a few basic lighting setups that can be done both in studio with strobes / flashes and with a simple reflector / a foam board or bed sheets to give you some tools you can use on your next photo or video shoot. I’ve taken photos of each lighting setup and done very little post processing to show how the same model looks in different light. I’ve also used photoshop and added a simple solar curve to exaggerate where the highlights are hitting,
therefore showing where the main focus of the light was going. We will go over 8 sifferent light setups. Most using softer light source. Under each picture it will show you a “solar curve” of each image. This will highlight where the main light is coming from in each shot as a visual aid. For the first light setups we will be using strobe. In each of these I am shooting with a 640 watt second strobe with a medium Eilonchrome Rotalux Deep Octabox attached with both the inner and outter baffles attached.
1
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nderstanding light and learning to see it are crucial skills for any photographer. Lighting can and frequently does make the difference between a bad photo and a beautiful photo. I am going to cover a few basic lighting setups that can be done both in studio with strobes / flashes and with a simple reflector / a foam board or bed sheets to give you some tools you can use on your next photo or video shoot. I’ve taken photos of each lighting setup and done very little post processing to show how the same model looks in different light. I’ve also used photoshop and added a
simple solar curve to exaggerate where the highlights are hitting, therefore showing where the main focus of the light was going. We will go over 8 sifferent light setups. Most using softer light source. Under each picture it will show you a “solar curve” of each image. This will highlight where the main light is coming from in each shot as a visual aid. For the first light setups we will be using strobe. In each of these I am shooting with a 640 watt second strobe with a medium Eilonchrome Rotalux Deep Octabox attached with both the
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inner and outter baffles attached.
Setup 1 is side lighting /short lighting with no fill. I wouldn’t normally shoot like this, especially when shooting a femal model, but it is a good example on how fill light works. A side light is when the main, or “key” light can be anywhere from just off to the side when the light is more frontal to almost all the way out to the subjects side. Usually with the light more frontal and about centered at eye level (when shooting a portrait). You will notice that the is a lot of light hitting one side of the subjects face and almost none hitting the other. If used with the subject turning their head more toward the light and having the shadow side more facing the camera this can have a slimming effect. It does, however highlight blemished and skin issues so should e used cautiously. It creates a mystery
to the photo. Setup 2 is side lighting again, but with a fill light added in. See how the shadow side of the face is now much more lit. You are best off lighting for the aperature you are shooting with your key light first,
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the slowly adding fill light (turning up the light) until you get a look that you think works best. Many people prefer 1/3 fill, so if I am shooting at an aperature of F16, my fill would be about 1/3 of that power, or between F 5.6 and F 8. Be careful not to match the power of the key light though because
you will end up cross - lighting you subject and they will not look great! Setup 3 is again a side light, but this time showing a reflector as a fill light instead of a fill light. This can be helpfull if you are just starting to build your lighting kit and don’t have all of the equipment just yet, Reflectors work by bouncing the light from an actual light source. In this case from the main light. Use your eye to see where the light is bouncing to where you want it. Think about playing pool and riccocheting the light. Another example that I want to
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share is what happens when you take the same light setup but move it back, therefore taking that large soft light source and making it RELATIVELY (to the subject) much smaller. Here is the effect of the face: Setup 4 is lighting from above, called “Paramount Lighting�
used for filming popularised by Paramount studios. This can be a very i teresting dramatic light and looks great in black and white, or with harder lighting Setup 5 is Clamshell lighting. Starting with Paramount lighting from above, add a fill light to add some light to the shadows. This is often used for beauty lighting with the Key light JUST above
Finding ZEE LIGHT
Photo: Rich Heaton Model: Michaela Spaulding Hair and Makeup: Natalie Taguding
PHOTO: RICH HEATON MODEL: EVELYN FROST MAKEUP: ANISHA INAMASU
PHOTO: RICH HEATON MODEL: MANDY BUTLER
Photo: Rich Heaton Model: Kiandra Ervin Hair and Makeup: Lynn Yee
PHOTO: RICH HEATON MODEL: ASHLEY KOZUMA HAIR AND MAKEUP: RY-N SHIMABUKU
PHOTO: RICH HEATON MODEL: MICHAELA SPAULDING HAIR AND MAKEUP: NATHALIE TAGUDING
PHOTO: RICH HEATON MODEL: SHAHOLLY AYERS HAIR AND MAKEUP: CHANZEN
Photo Rich Heatonn Model: Lili Mancilla
NEW YORK/ LONDON Fashion
- Jen Hunter Growing up in small town in North West England, the dream of working on a makeup team in a fashion week wherever in the world seemed like a fantasy of epic proportions. The idea of running around backstage, brushes in hand, turning the creative ideas of the designer into a reality and seeing these other-worldly models step onto the runway was my idea of Heaven. In 2016 that dream became a reality. Spending three seasons working between New York and London Fashion Weeks has allowed me to see how much work and effort goes into putting on a runway show. Schedules finalise
around a month before shows are due to start, and agencies will generally confirm teams around this time. The following four weeks are vital to any show – designers are putting the finishing touches to their collections and hair and beauty teams are confirming their teams. Press and photographers are invited and the PR machines are launched into overdrive. As a makeup artist, my excitement starts a week before. The final hair and makeup looks are completed, moodboards sent to the creative team and kit lists are decided. I start downsizing my kit, ensuring I have enough of everything to get me through
Spending three seasons working between New York and London Fashion Weeks has allowed me to see how much work and effort goes into putting on a runway show.
New
the week, whilst also making sure my kit is light enough to travel with. My first trip to New York Fashion Week involved six shows across three days, each one completely different to the last. The beating heart of America showcases its fashion week all over the city. Runways host hundreds of new and established designers and venues spread across Manhattan and beyond. New York benefits from showcasing the cutting edge designs that their design houses are known for. Generally New York shows will present a youthful and on occasion a grungier feel to their collection, as evidenced in Fenty/Puma show SS18. With bright pops of colour and blinding highlights, Fenty / Puma models sported a swagger of true Rihanna proportions. Often, brands swap the formal runway locations of Skylight & Pier 59 and take to the streets. Witness Alexander Wang SS18 shows which turned the busy New York streets into a street party, showcasing the high end brand to the unsuspecting public. The John Paul Ataker show has become a firm favourite to work on, done so as part of the Beauty Underground Artistic team headed up by hair stylists Charlie Price and Shareena Hansen. In the three seasons I’ve worked with the brand, each collection has differed from the last. Their SS18 collection launched their first New York flagship store into the limelight, opening up last October on Madison Avenue. Taking inspiration from the Black Sea region of homeland Turkey the collection tied weaves and knots into the designs, from gowns to separates with a nod to the traditional inspirations from Ataker’s homeland. The makeup design was just as sleek; perfectly contoured and highlighted with a great emphasis on skincare to give skin a radiant boost to the model’s complexion. A smudge of liner emphasised lash lines, with perfectly placed highlight across the eye and brow bone area to draw attention in. Models Taylor Hill
York
The John Paul Ataker show has become a firm favourite to work on, done so as part of the Beauty Underground Artistic team headed up by hair stylists Charlie Price and Shareena Hansen.
London
and Karlie Kloss shined their way down the runway, Kloss followed by an extravagant, embroidered train. If there is a statement to be made, it will surely happen at Fashion Week. Both London and New York runways have been known to push the boundaries in recent years, and SS18 was no exception. A welcome new addition to the runway in recent years comes from the evident variety in the models on parade, and the SS18 runways displayed that more than ever. With consumer attitude shifting toward all-inclusive fashion, this inevitably puts more pressure on brands to deliver. Calvin Klein included teenage transgender Ariel Nicholson in their SS18 show, whilst Orange Culture showcased an assortment of androgynous styles to promote a diverse collection. It’s not rare for designers to make a statement on the runway; back in 2017 designer Teatum Jones opened London Fashion Week with a diverse selection of disabled models. Whilst statements are made on the London catwalks, the makeup that I’ve experienced
is slightly more subtle and subdued. The muted tones of classic British fashion house Burberry donned a more classic, toned down mode with barely-there makeup. And it’s not just the renowned fashion houses softening up their look, newcomer Chanel Joan Elkayam leant towards the romanticism of femininity with a fresh flawless skin, with a hint of colour on the lip.
How to make trends work for you Not every catwalk makeup is going to something be you would wear every day, however there are ways of making even the most avant garde look wearable. Stay ahead of the high street and look straight to the runway for inspiration. Next season’s colours and textures will become apparent through beauty looks worn on the runway, so strip these down into areas of the face. Skincare will never go out of fashion, so look towards dealing with texture and appearance – try The Ordinary’s serums and acids to rebalance and refresh skin. This season we’re swapping out a shimmer highlight in favour of a
Photos: Crystina Bond Rosenthal Tee Show
Photographer: Rich Heaton Model: Jasmine Bazan Makeup: Kimberly Ulep
SP IK ED
MODEL: SHAHOLLY AYERS @SHAHOL1 | | HAIR AND MAKEUP: CHANZEN LOO @CHANZEN.ARTISTRY
Photo: Rich Heaton Model: Kiandra Ervin Hair and Makeup: Lynn Yee
Photo: Rich Heaton Model: Rebecca Terisia Makeup: Andrea Porter
Photo: Rich Heaton Model: Kiandra Ervin Hair and Makeup: Lynn Yee
