november 2013
THE BEAUTY EXPERT
allure
113 phenomenon 129 great-hair special 140 nostalgia 146 lazy girl’s guide 160 essay
66 fashion cravings
70 fashion extras
72 cult object
74 fashion sense
83 fashion advice
48 editor’s favorites
52 product review
54 how-to
56 free stuff
58 inspirational hair
60 beauty 101
90 life advice
65 fashion bulletin
47 look now: high drama
insiders’ guide
fashion
beauty reporter
CONTENTS
40 beauty by numbers 42 cover look 44 editor’s letter 171 beauty and the beat
178 romance, novel
184 coming clean
188 sex: an allure guide
194 blue notes
202 amazing grace
121 know-it-alls
166 directory
210 private eye
34 mail
26 contributors
172 technicolor dreams
106 body news
regulars
features
health
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Kimberly Kuchinka Traveling all the way from Moorpark in Southern California, Kimberly is currently a fourth year student at San José State University. She is studying Mechanical Engineering, with an emphasis in Mehcatronics.
Chantee Evans
contributors
A San José native, Chantee is currently a fourth year student at San José State University. She is majoring in Psychology and minoring in Child Development.
Sylvia Woo Born and raised in the Bay Area, Sylvia came from San Francisco and is now a fourth year student at San José State University. She is majoring in Environmental Studies with a concentration in Environmental Restoration and Resource Management.
Allison Ghimenti Originally from Ceres, California, Allison transfered to San José State University this fall after previously attending Merced College. She is now majoring in Design Studies with an emphasis in Graphic Design.
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LETTER FROM THE EDITOR
A man once put his hand in my purse when I was buying a bagel in Grand Central station. This was long ago, when I used the word “purse,” ate bagels, and went to Grand Central. But that’s not the point. The point was his hand in my private world, where it had no business being. I froze, looked at him, and told him calmly, firmly, “Get out, now!” And, amazingly, he did. Of course I didn’t want him to steal my wallet, which I assumed was his intention. I was more outraged, though, by the sense that he was trespassing on what felt like my inviolable portable home. This purse business was new to me. I never carried one until I got my first job, and then you’d have thought the thing was hot-glued to my right shoulder. I’d walk down the halls delivering copy and fetching mail, purse just so, as if I were modeling office separates for the Macy’s catalog. After a few weeks of this routine, someone kindly took me aside and whispered that I could actually leave my bag under my desk for the day and no one would take it. My handbags became mini museums, repositories of ticket stubs and place cards from plays and parties long past. When my sons were young, the bags held genuine garbage: napkin-wrapped sandwiches, linty gummy bears, and orphaned juice-box straws that I’d dig out at the end of the day. I sometimes rummage through my closet and pul out old bags to pore through their contents as if peering into a time capsule. There are lipsticks and glosses, shopping lists, address books, and boarding passes. Each one conjures up memories of a particular moment. I know I should clean them out every night, or at least every year, and stuff them with acid-free paper the way a proper fashion person would, but I just don’t have the heart. Besides, my past isn’t acid-free. When you live in a New York City apartment, you don’t put your keepsakes in a box in the nonexistent attic. Your purse must contain at least one of them. A photographer recently asked if he could shoot my bag and its contents, and I’m slightly terrified at the thought. I’m tempted to clean and sanitize it beforehand, replacing the Ziploc bag holding tea bags and Truvia with a proper leather pouch and shaking out the sand pooled at the bottom. But then, I think, the bag would be soulless, like one dutifully composed for a department-store ad. For my birthday a few years ago, my friend Jane R. ordered a cake made in the shape of my handbag at the time, an Yves Sain Laurent patent-leather satchel. That bag was so much a part of my person that I recognized it as if I were looking in the mirror. It needed no birthday message. And it was delicious.
editor’s letter
BAGGAGE CLAIM
Linda Wells, Editor in Chief
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HOW TO: HIGHLIGHT Highlighter is the quick way to cheat radiant skin. Makeup artist Mally Roncal, who has worked with BeyoncĂŠ, explains.
Highlight brow bones.
Just one tap on the nose. Dab up and down your cheek bones. Finish on the apples of your cheeks.
Tap leftover on the center of your chin.
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Try champagne. “The shade looks good one everyone,” says Roncal. Creamy formulas without obvious shimmer or—please, no—glitter look the most natural.
Take it easy.
Forget about the bridge of your nose. “Unless yours is flat, using highlighter there makes you look greasy,” says Roncal.
know-it-alls
“Most people slap on too much, and then they look like the Tin Man,” she says. Roncal’s technique: “I lightly coat my pointer, and ring fingers with highlighter, and then rub then against the same fingers on the other hand,” she says. “Tap your fingers up and down your cheekbones, and then dab whatever’s leftover on your brow bones, the center of your chin, and just one tap on the tip of your nose,” she says.
Double up on your cheeks. Dip your fingers into the highlighter and tap them over the apples of your cheeks before you apply blush. “It’ll show through your blush and make your skin look like it’s lit from within,” says Roncal, who likes combining peachy cream blushes with the champagne highlighter.
Mattifying is as important as highlighting (almost). “It makes the highlighted areas really stand out,” she says. Dust your forehead and the sides of your nose with a loose tinted powder on a medium-size fluffy brush.
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WHILE YOU WERE SLEEPING If only there were ways to style your hair in your sleep. Oh wait, there are.
to create waves: Sleeping with famp hair in a loose braid produces niceenough ripples. But twist that braid into a bun, and your next-day waves will look fuller and sexier, says hairstylist Mark Townsend. Two more tricks: Prep wet hair with leave-in conditioner before braiding to help prevent frizz (we like Living Proof’s No Frizz one), and then use an old scrunchie to secure the bun—it won’t leave creases.
to boost volume: Wash your hair before bed, spray volumizer at the roots and a leave-in conditioner over the length and ends, and sleep in a loose topknot (with that same good old scrunchie). “Your roots will be pulled upward all night, adding volume, and the bun created soft waves,” says Hawkins.
to extend your blowout: Sleep on satin or Egyptian cotton pillowcases, which create less friction than regular ones. That means your hair will look more polished in the morning, and you’ll have less damage and breakage in the long run.
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lazy girl’s guide
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With generous swipes of blush, everyone has cheekbones—aggressive magenta cheekbones.
Full Flush
TECHNICOLOR DREAMS The supersaturated eye shadow, the highly contoured cheeks, the provocative poses, the extreme everything. One man’s vision has influenced beauty for decades.
technicolor dreams
By Danielle Pergament
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Have you ever thrown makeup caution to the wind and worn vinyl red lipstick and slick gunmetal eye shadow at the same time? Or gone a little heavy-handed with your blush, maybe even swooshing it all the way up to your temples? If you’ve ever strayed beyond the sweet, happy world of pink-y beige, you have— knowingly or not—been influenced by the work of Guy Bourdin. Bourdin celebrated intense, wild, even aggressive lipstick, eye shadow, and blush. And here’s the really crazy part: The man wasn’t even a makeup artist. “Guy Bourdin was one of the first photographers to use makeup to convey surrealism,” says Shelly Verthime, who has written several books on the photographer, including 2007’s A Message for You (Steid1Dangin). “He would use acid green or magenta makeup and shoot with a magenta filter—the color was hyper-real.” And whether the photograph featured a woman’s mouth painted to look like an eye or a model’s actual eye covered by 40 pointed red fingernails, “his work existed between reality and fantasy,” says Verthime. Bourdin’s career began in the early 1950s, when he studied under the most famous surrealist photographer of the day, Man Ray. In contrast to Ray’s black-and-white prints, hoever, Bourdin’s photographs were an orgy of bright, glossy colors and fetishistic imagery. He began shooting fashion photographs for French Vogue and highly provocative (and iconic) advertisements for shoe designer Charles Jourdan. In the process, Bourdin defined a look and an erotic sensability that would inform the disco era—a good decade before Studio 54 even opened. “When you think of Guy Bourdin, immediately you think of color,” says makeup artist Sandy Linter. “That red and the saturated pink and gunmetal. It was a color palette no one had seen before. Now we take color for granted, but back in the ’60s and ’70s, you would open a fashion magazine and you stopped in your tracks when you saw one of Guy’s photographs.” Even now, more than 20 years after Bourdin’s death, his work continues to influence the rest of us. “Other children had pop-star posters on the wall—I had Guy Bourdin photographs,” says makeup artist Francois Nars, who this month is launching Nars Bourdin, a collection of vivid blushes, eye shadows, and lipsticks that mimic the saturated colors in Bourdin’s images. “His work was so decadent and beautiful.” That Bourdin is back ins tyle may say more about us than it doesn about him. “As soon as things get boring, you know there’s going to be a Guy moment,” says hairstylist Garren. “He always comes in and out of fashion because we get to a point where everything becomes architectural. We need punch. We need someone to press the button on high glamour. That’s when we need Guy.”
technicolor dreams
Red Queen Vinyl red lipstick—the kind that looked like it could almost ooze off the page— was Bourdin’s trademark.
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Blue Ice
REALITY CHECK Unless you live in a disco and it’s Saturday night, a true Guy Bourdin look may be a little extreme. Here’s how to temper it. Choose one feature and go for it.
Burst out the big, fluffy brush. You’re going to need it for blush. In Bourdin’s world, the blush traveled from the cheekbones, around the eyes, and past the temples. You can get the same sculpted look “with a softer, lighter shade of blush,” says makeup artist Benjamin Puckey. Go from the apples of the cheeks to above the eyebrows, and blend like you’ve never blended before.
technicolor dreams
“You can get Guy’s look without going bold everywhere,” says Linter. “Apply a rich metallic shade on the eyes and draw it out to the temples, and add a light-colored gloss on lips. Or shellac the lips in a rick, glossy red and just eyeliner on the eyes.”
Turn the phone off. When it’s time to do your eyes, you can’t afford distractions. Choose a color you like—charcoal, navy, aubergine. You’re going to be seeing a lot of it. Trace the lash lines with an eye pencil, then do smoky eye makeup, being especially generous on the upper lids.
Eat dinner before you go out. Because once this lip color is on, you don’t want to mess it up. First, line and fill your lips with a red lip pencil that doesn’t scare you. Follow with a lipstick in the same shade, and finish with a coat of clear, sticky gloss.
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In this issue, you will read about Guy Bourdin’s influence on the makeup world, learn how to properly highlight your face, and discover the secrets to styling your hair while you are sleeping.