COLOURS OF MAKE-UP DESIGN

Experimenting with BLACK

By Annika Rayman

For millennia, people have found and developed new ways to adorn themselves and makeup has been in the forefront, constantly being reworked and re-imagined. One aspect that has not changed is the generationally transcendent and internationally popular use of the colour black in beauty.

The use of black in art plays similar roles on a person’s face as it does on a canvas; to outline, to create a void, to dramatize, and to emphasize light or lighter spaces. In my experience, no matter the type of makeup being rendered, using black is practically inevitable.

Your client, whether talent for theater, photo or film, a special event consumer, or just a person using makeup on a daily basis, looks to you to expand their horizons with the use of black in their makeup. To many people black is harsh, too stark or too strong. In a way, they are not wrong. The onus is on us, depending on their needs, to use black as effectively as necessary, and if needed, to impart the knowledge and the how-to’s of its use, tailored to each person. That strength, that drives the average person away from black, that innate ability to stand out, needs to be released from its negative connotation, and then black can clear its name. This can happen with the help of impartial and knowledgeable professionals giving sound unbiased advice and information regarding the use of black in makeup.

Aside from the colour itself, black has gradient ranges, such as jet, soft, midnight, and so on. The various textures and finishes can also create the subtlest, but visually impactful effects that can change a wearer’s entire makeup look as a whole. A drop of black liquid foundation onto a palette can suddenly create the perfect shade of makeup for a client having difficulty colour matching. A glossy black lid versus powder shadow used to amplify a model’s eyes with drama, without adding harshness. Fine black lines expertly placed on the lips before lipstick to give the slightest illusion of volume for a boudoir shoot. Our own personal perceptions of the colour and our practice with it can profoundly impact it’s meaning to a client. It is imperative that as artists we experiment. This allows us to have the widest breadth of experience to correctly guide our future clients. As the expert, we use our technical abilities coupled with our understanding of colour theory, as well as the effects of texture on different parts of the face to illuminate our clients’ view on the colour and its versatility. Our own personal use and experience with the colour on our own features must be separated from every application we begin.

The power of black is as infinite as the universe. Black encompasses all colours and thus has the ability to absorb. It is the beginning and the end of all things. The way other colours behave and appear when interacting

with light is integrally related to its blending with or placement contiguous to black. This power and energy is naturally imparted onto the wearer and onto the part of the face or body it is used on. For example, using black to line the eyes can be traced back to a multitude of countries and cultures around the globe, in early timelines of international histories. I will touch on one of many origin stories of black liner from personal experience and inherited knowledge. Black liner for the eyes is culturally significant in places where kohl (made of ore that forms mineral lead) was found in large quantities, such as Gulf and Middle Eastern nations like Egypt and Saudi Arabia, and South Asian countries like India.

In the ancient times of some of these areas, prior to the international spread of the Big 3 monotheistic religions, the power of black around the eyes amplified our sense of ‘seeing’ – beyond the realms of our material world and current perceivable existence. It was used (and still is for this purpose) by any person, of any gender and any age who accepted the influence of their environment of that time. This sight and ability was to be attained, a practice assisted by a naturally occurring compound given to us by the earth.

Through the ability to ‘absorb’, it was and still is believed that lining the eyes with black wards off evil thoughts or wishes from others who hope harm for you, and especially for children. The aesthetic effect of making the whites of the eyes appear brighter, in turn framing the eyes, was a secondary and superficial effect of the lining. Fully lined eyes give what now is widely seen as an exotic, bold and provocative look to makeup, which was once merely spiritual. Like many things born of the Third World, lining the eyes with black went from being ritualistic, to a culturally significant staple in beauty for that region paying homage to a time that was, to a new cool thing discovered by the West, and then given a whole new meaning and use.

With the world’s introduction to photography and film, the use of black was vital to the shading and definition required to sculpt and perfect our classic and beloved movie stars and singers, and that continued even after colour film. International audiences fell in love with complete strangers, whose perfected features were and are to this day craved by people everywhere. The coveted features themselves change decade by decade, but even so many generations later and thousands of miles away, the allure of sparkling eyes brightened by even the gentlest sweep of black pigment (think Marilyn Monroe’s signature ‘bedroom eyes’) has been a common element in propelling celebrities of any gender into Hollywood or Music Halls of Fame, and garner repeat requests in cosmetic chairs; ours and those of cosmetic doctors.

Remember, black’s powers work both ways - it can absorb and emanate. The mindset of the modern wearer can be influenced by the person educating them about its use. Understanding the origins of black in personal adornment, before its adaptation into the beauty ritual of people all over the world, is necessary to effectively level our attitude with regards to using it and recommending it for clients and it will affect their impression of the colour for their lives, daily or otherwise. We can empower our communities with their understanding of black and what it can do for them when used correctly.

We are the wielders of colour. The alchemy we produce on the faces and bodies of others affects them beyond the realm of vanity. The colours we choose create delighted reactions when we are done. This stems not only from how they look but also how they feel due to the combined energies of the colours used and the specific placements and applications. The power of the colours in their relationship to where and how you have used black in their makeup magnifies the positive feeling and can completely reconfigure a person’s internal energy. What an effect it has on the world around them for the betterment of their own lives.

A client of Annika’s on her wedding day who wanted a modern take on a traditional look for her East Indian Heritage. Black Eyeliner was used to line the upper lid and tightline the upper waterline before placing matching black lashes to the eye makeup. Black eyeshadow was blended softly from outer to inner corner and mixed with a metallic brown to create a gradient where the pigment faded from dark to light. The result is beautiful and flattering, as well as culturally significant to the client’s ethnic background. Photos taken by Annika.

Photo by Annika Rayman

Diversity Shoot to highlight possible varying physical features and personal style tastes of Canadian Brides beyond what is typically shown in the average Canadian Bridal Magazine.

Photo is courtesy of Flashing Lights Photography IG @flphotodesign