MeiMei Magazine

The beauty of makeup

Lisa Eldridge A make-up artist, author, and creative director of LancĂ´me.

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Cover Story Lisa Eldridge:

Close up interview with the makeup artist

A Sense of Space:

Photographer Julius Schulman’s photography spread California Mid-century modern around the world

Sugar Coated:

Let your nails do the talking!

And, sugar coat it. Literally!

In Every Issue

7 From the Editor 9 Start: Cuisine 10 Start: Sojourn 12 Start: 5th Floor 14 Wish List

Inspirations Starts Here...

For all the beautiful sisters out there who want to bring their profesional makeup technique to the next level.

EDITOR IN CHIEF

VANESSA DU Design Director Dan Bishop EDITORIAL Managing Editor Kathi Kube Senior Editor Gemma Tarlach Senior Associate Editor Bill Andrews Associate Editor April Reese Associate Editor Eric Betz

In Manderine, Mei means "beauriful", and Mei Mei also sounds like "sister". This is a magazine that help all the sisters out there to find beauty inspirations. For everyone who not just have a passion in makeup, also wants to bring their professional technique to the next level.

Follow MeiMei Magazine, and make sure you share it with your sisters.

Assistant Editor Lacy Schley Copy Editor Dave Lee Copy Editor Elisa R. Neckar Editorial Assistant Amy Klinkhammer CONTRIBUTING EDITORS Dan Ferber, Tim Folger, Linda Marsa, Steve Nadis, Adam Piore, Corey S. Powell, Julie Rehmeyer, Erik Vance, Steve Volk, Pamela Weintraub, Jeff Wheelwright, Darlene Cavalier (special projects director) ART

meimei.com

Photo Editor Ernie Mastroianni Associate Art Director Alison Mackey MEIMEI.COM Web Associate Editor Carl Engelking Staff Writer Nathaniel Scharping BLOGGERS Meredith Carpenter, Lillian Fritz-Laylin, Jeremy Hsu, Rebecca Kreston, Jeffrey Marlow, Neuroskeptic, Elizabeth Preston, SciStarter, Christie Wilcox, Tom Yulsman

ADVERTISING SALES OFFICES Advertising Sales Manager Steve Meni ADVERTISING SALES OFFICES Advertising Sales Manager Steve Meni (888) 558-6220, smeni@ discovermagazine.com Rummel Media Connections Consulting and Media Sales Kristi Rummel (608) 435-6220, kristi@ rummelmedia.com Marketing Architect Melanie DeCarli Research Bob Rattner Advertising Services Daryl Pagel KALMBACH PUBLISHING CO. Charles R. Croft, President Stephen C. George, Vice President, Content Daniel R. Lance, Senior Vice President, Sales & Marketing James R. McCann, Vice President, Finance Nicole McGuire, Vice President, Consumer Marketing James Schweder, Vice President, Technology Diane Bacha, Editorial Director Ann E. Smith, Corporate Advertising Director Maureen M. Schimmel, Corporate Art Director Kim Redmond, Single Copy Specialist Mike Soliday, Art and Production Manager

FROM THE

Editor: What does makeup means to you? Why do you wear makeup before you leave the house? Some people consider it polite, some say they do it because everybodyelse does.

But, to me, makeup is never a mask you wear to hide yourself, its nota camoflouge to hide your flaws. Makeup is a way for you to express yourself, make your inner beauty shine, be whoever you want to be.

And, to all MeiMei readers, makeup is also a form of art, and a clean face is the cancas. In this issue, there are stories to inspire you to try new thing, to go out and see the world, and turn your passion into professioin. Never stop doing what you love!

Editor in Chief, Vanessa Du

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start

cuisine • sojourn • 5th floor

Boba Tea in LA

Taiwan set the ball rolling in the 1980s and boba has become international fare since.

PA RAG RA P H A ND P HOTO G R AP H B y N a tal i e C hu d novsky

85°C Bakery Cafe

BlackBall

Half and Half Tea House

Bubble tea. Boba. Pearls. Tapioca balls by any name would taste as sweet, but that doesn't mean they’re all just as good. Taiwan set the ball rolling in the 1980s and boba has become international fare since. They add texture to any drink, from milk tea to slushies, coffee, booze, shaved

ice and even superfruit smoothies (this is LA after all). Armed with a giant neon-colored straw, we hit the streets to find who’s perfected the delicate and mysterious art of creating the perfectly honey sweet boba pearl. Here’s what we found.

Coco Fresh Tea & Juice

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start Huntington Library cuisine • sojourn • 5th floor

FIDM’s 5th floor windows celebrate the surreal work of Elsa Schiaparelli Pa rag ra p h by Ap ri l R eese P hotog rap h by Lacy S chl ey

The bequest of entrepreneur Henry E Huntington is now one of the most enjoyable attractions in the Los Angeles region. It's also not a destination that you should attempt to explore in full during a single day: between the art, the library holdings and the spreadeagled outdoor spaces, there's plenty to see, and most of it is best enjoyed at lingering leisure rather than as part of a mad day-long dash.

Once you've paid your admission, you'll be close to the main library, which holds more than six million items and is open only to researchers

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(apply for credentials in advance of your visit). However, some of its most notable holdings, among them a Gutenberg Bible and the earliest known edition of Chaucer's The Canterbury Tales, are always on display in the adjoining exhibition hall, alongside regular themed temporary shows.

The art collection is almost as notable as the library's collection.

Built in 1910, the main house is home to a very impressive collection of British art, which includes Gainsborough's The Blue Boy alongside works by Blake, Reynolds and Turner. And over in the newer

Scott and Erburu Galleries, you'll find a selection of American paintings.

However, despite all these cultural glories, the Huntington's highlights are outdoors in its vast jigsaw of botanical gardens, arguably the most glorious in the entire Los Angeles region. The 207 acres of gardens, 120 acres of which are open to the public, are divided into a variety of themes.

Garden of Flowing Fragrance, a delicate environment built in part by Chinese artisans. Like much of this fabulous place, it's best approached in slow motion.

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start

cuisine • sojourn • 5th floor

Windows into the Surreal

FIDM’s 5th floor windows celebrate the surreal work of Elsa Schiaparelli Parag rap h by H am i sh B ow l es • p hotog rap h by R yan Oko

“Madder and more original than most of her contemporaries, Mme Schiaparelli is the one to whom the word ‘genius’ is applied most often,” Time magazine wrote of its cover subject in 1934. Coco Chanel once dismissed her rival as “that Italian artist who makes clothes.”

(To Schiaparelli, Chanel was simply “that milliner.”)

Indeed, Schiaparelli—“Schiap” to friends—stood out among her peers as a true nonconformist, using clothing as a medium to express her unique ideas.

In the thirties, her peak creative period, her salon overflowed with the wild, the whimsical, and even the ridiculous. Many of her madcap designs could be pulled off only by a woman of great substance and style: Gold ruffles sprouted from the fingers of chameleon-green suede gloves; a pale-blue satin evening gown— modeled by Madame Crespi in Vogue— had a stiff overskirt of Rhodophane (a transparent, glasslike modern material); a smart black suit jacket had red lips for pockets. Handbags, in the form of music boxes, tinkled tunes like “Rose Marie, I Love You”; others fastened with padlocks.

Monkey fur and zippers (newfangled in the thirties) were everywhere.

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WISH LIST

Balancing lavender cleanser.

LUSH Face And Body Cleanser Angels on Bare Skin

Blueberry-packed maintenance mask.

LUSH Fresh Face Mask Catastrophe Cosmetic

An effective, alcohol-free facial toner.

Kiehl’s Calendula Herbal Extract Alcohol-Free Toner The set contains their iconic Soy Face Cleanser, Lotus Youth Preserve Face Cream, Rose Face Mask and cult classic Sugar Lip Treatment—a sure-fire winner to gift to anyone, really.

Fresh Skincare Heroes

A replenishing nighttime oil that visibly restores the appearance of skin by morning.

Kiehl’s Midnight Recovery Concentrate

Mario Badescu Plastic Bottle Drying Lotion is a fast acting, effective acne spot treatment.

MARIO BADESCU Plastic Bottle Drying Lotion

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A sweetly tempting array of 16 matte and shimmer shadows scented with real chocolate.

Too Faced The Chocolate Bar Eye

A high-coverage liquid lip color with ultimate shine, comfort, and all-day wear.

Yves Saint Laurent Vinyl Cream Lip Stain

A Naked eye shadow palette with 12 exclusive, must-have, neutral-matte shades. The matte eye shadow palette loaded into a sleek, square case with matte shades that have been requested time and time again.

Urban Decay Naked Ultimate Basics

A perfect blend of skin care and makeup that helps control oilbreakthrough and gives skin a sheer hint of color for a healthy, natural glow.

Laura Mercier Tinted Moisturizer Broad Spectrum SPF 20 - Oil Free

A pale-pink, pressed highlighting powder that transforms your complexion from dull to radiant.

Benefit Cosmetics Dandelion Box o’ Powder Blush

A silky, long-lasting lip stain that keeps lips covered with bold color from AM to PM— no need to reapply or touch up throughout the day.

SEPHORA COLLECTION Cream Lip Stain

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A M A K E - U P A R T I S T, A U T H O R , A N D C U R R E N T LY G L O B A L C R E AT I V E DIRECTOR OF LANCÔME, WORKING A C R O S S P R O D U C T D E V E L O P M E N T, A D V E R T I S I N G C A M PA I G N S A N D D I G I TA L S T R AT E G Y. Lisa Eldridge [@l isaeldridgemakeup] photographed by Ol ivia Richardson.

Interview by Alexandra Rhodes.

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Lisa Eldridge

I had a set philosophy about makeup from the beginning that’s never really changed.

I

first started to play with makeup when I was about 6 years old. We lived in New Zealand, and then we came to England and stayed at my grandmother’s house, I found a box of makeup which was my mum’s. So I grew up with all this ‘60s makeup from Mary Quant and Coty. I wasn’t really interested in putting it on my own face. I was just interested in the objects, and I loved the color and texture.

When I was about 13, I got a book of theatrical makeup for my birthday. I was like, ‘Wow, you can do this as a career.’ I remember saying to the careers person at school.

‘Do I really need to do math? Because I’m going to be a makeup artist.’ Now it’s a known career, but back then it was a weird thing to want to do.

It was a slow process. I did a lot of testing. You’d go on a shoot at 7am on the Isle of Dogs and the pictures wouldn’t even turn out! I was working in an architect’s office, and there was a studio across the road. I knocked one day and said to the assistant, ‘If you want to test, I’m

a makeup artist.’ Eventually I went to Milan and did three tests a day. It was a really big learning curve. Then I did a bit of assisting backstage with makeup artists like Mary Greenwell and Linda Cantello. I only did one season of assisting, and then I started doing makeup on my own and got an agent after that.

I had a set philosophy about makeup from the beginning that’s never really changed. I love faces. When I’m out and about, I’m looking at people all the time and see so much detail. Every face is gorgeous. I don’t see the negatives. I think, ‘What about these amazing eyes or this beautiful bone structure?’ I still feel excited about that now, 20 years later.

ON HER WEB PRESENCE I think I was one of the first makeup artists to have a stand-alone dot com. That was about 15 years ago. Then I did a TV show in the UK called 10 Years Younger. It was really popular, and whenever I’d do the show, I’d get Fall 2016 • MeiMei •

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Lisa Eldridge thousands and thousands of hits on the website. People started writing in, emailing my agency. They’d be like, ‘I really want to look nice for my daughter’s wedding because this has happened to me, and that’s happened to me,’ and I was like, ‘Ahh I need to help these people, what can I do?’

In 2008 or so, I was reading all the beauty blogs and looking on beauty forums, and I saw that there was a lot of stuff on YouTube. I thought, ‘This is so interesting because these girls are consumers.’ I can shoot a big glossy campaign and a brand can say, ‘This mascara makes your lashes look 10 times longer,’ but then these girls can go on YouTube and say, ‘Well I tried it, and it didn’t work for me.’ To me, that was the biggest thing that’s happened in beauty, and I was really excited about the change.

The first video I did was Morning After Makeup. I was out the night before until all hours, and I had the worst breakout in the morning! I said to my husband, ‘I’m going to do my first video today,’ and he was like, ‘Are you sure? You look really rough, babe!’ But there was no point in me going on there and putting makeup on and not looking any different. I was so nervous because I had a lot of celebrity clients and people thought YouTube was really naff, but I just believed in it.

My favorite one is probably the Meeting The Ex video. I did a job with a Victoria’s Secret model, and she just went on and on about this boyfriend who finished with her. We planned everything for her—her hair, makeup, what she was going to wear, what she was going to say. She said, ‘You should do a video about this!’

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I thought, ‘I am going to do that because if she’s a Victoria’s Secret model, what hope is there for the rest of us?’ And the thing is—I don’t make videos for makeup artists. I make them for the average woman who likes makeup and who’s interested in makeup. Women should be able to choose the look they want. I like quite pared-back looks, but I’m not going to criticize someone who likes to wear false eyelashes and lipstick every day.

It’s a woman’s right. The fact that she can even do that when you look at history is great. I’m now just like, ‘Isn’t it just great that we’ve got a bloody choice?’ Because for the longest period in history, women have been told what to do.

WHAT ELSE SHE’S WORKING ON I started my vintage collection of makeup in 1990. I love the stories that makeup can tell. I’ve got stuff which ranges from the Northern Song Dynasty in China over a thousand years ago to modern day classics.

I’ve got a lipstick in the exact shade that Jackie O wore! When I put rouge onto someone’s face, I now understand that there’s a 40,000year history of rouge or a 2,000-year history of eye shadow. Part of having that knowledge is because every spare minute really for the last two years have been spent on writing my book about the history of makeup.

Every weekend or time off there was something to do—something to research, some museum to go and see, some a picture to find. Even now, I have to read it again to do my final edits, and we have to check all the proofs of photography. It’s given me a lot of respect for people who write books because I’m not a writer. I also love working with the labs to see where makeup is going

I’ve got stuff which ranges from the Northern Song Dynasty in China over a thousand years ago to modern day classics.

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Lisa Eldridge

Artist Info: Lisa Eldridge is a make-up artist, creative director, and author.

Born in 1974, she was raised in New Zealand and Liverpool, England.

She had her first big break when she was booked by ELLE Magazine to work with model Cindy Crawford.

In 1998, Eldridge teamed up with Japanese make-up and skincare company Shiseido, who asked her to create a brand new make-up line for the Asian market.

From 2003 to 2013, Eldridge was Creative Director for Boots No7, where she was responsible for developing, re-designing and re-launching the brand.

next. I’ve been lucky to work as creative director for makeup at Shiseido, Boots, and now Lancôme. I’m a bit of a geek! When I talk to the head of L’Oréal Luxe Labs, I’m like, ‘Can we combine a non-volatile and a volatile silicone and an emulsion in this formula?’ I’m interested in the science, trends, and history as much as I am going on a shoot and being like, ‘a fabulous pink lip today!’

MAKEUP

I’m a bit of a geek!

I’ve got loads of makeup on today! I’ve got Clé de Peau Beauté Radiant Fluid Foundation, Laura Mercier Secret Camouflage Concealer in SC 3, Suqqu Balancing Eyebrow powder in 01 Moss Green. I’ve got this Maquillage blusher which is a brand owned by Shiseido, but it’s only available in Japan—it’s the Shiseido Japan Maquillage Dramatic Mood Veil Cheek Color Blush Palette in PK-200. My lips are Lancôme Shine Lover in 212 Twisted Beige. It’s like a lip balm, but it’s got nude color on it. It’s an everyday color. I usually use nude colors during the day. This eye shadow is discontinued, but Lancôme has one which is called the Hypnôse Doll Eyes Palette in Taupe Au Naturel, which is brilliant because it’s got all the colors that I like. The other one I like is Dior Rosy Nude 534 Eye Shadow Palette [ed note: discontinued]. If I’m working on a job, I don’t really wear much makeup at all. So I’ll just use a bit of concealer, curl my eyelashes, and put mascara on. 

Eldridge is currently global creative director of Lancôme, working across product development, advertising campaigns and digital strategy.

In October 2015, Lisa published her first book, Face Paint: The Story of Makeup, a New York Times bestseller. Eldridge currently lives in London with her husband Robin Derrick and their two sons.

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By P et er Gos s el l P hot ogr aphs by Jul ius Schul ma n

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P h otogr aph e r

Ju l ius S chu l man Photographer Julius Schulman’s photography spread California Mid-century modern around the world. Carefully composed and artfully lighted, his images promoted not only new approaches to home design but also the ideal of idyllic California living — a sunny, suburban lifestyle played out in sleek, spacious, low-slung homes featuring ample glass, pools and patios.

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T

he subject is the power of photography,” Shulman explains. “I have thousands of slides, and Juergen and I have assembled them into almost 20 different lectures. And not just about architecture—I have pictures of cats and dogs, fashion pictures, flower photographs. I use them to do a lot of preaching to the students, to give them something to do with their lives, and keep them from dropping out of school.”

It all adds up to a very full schedule, which Shulman handles largely by himself—“My daughter comes once a week from Santa Barbara and takes care of my business affairs, and does my shopping”—

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and with remarkable ease for a near-centenarian. Picking up the oversized calendar on which he records his appointments, Shulman walks me through a typical seven days: “Thom Mayne—we had lunch with him. Long Beach, AIA meeting.

People were here for a meeting about my photography at the Getty [which houses his archive]. High school students, a lecture. Silver Lake, the Neutra house, they’re opening part of the lake frontage, I’m going to see that. USC, a lecture.

Then an assignment, the Griffith Observatory—we’ve already started that one.”

Yet rather than seeming overtaxed, Shulman fairly exudes well-being. Like

many elderly people with nothing left to prove, and who remain in demand both for their talents and as figures of veneration (think of George Burns), Shulman takes things very easy: He knows what his employers and admirers want, is happy to provide it, and accepts the resulting reaffirmation of his legend with a mix of playfully rampant immodesty and heartfelt gratitude.

As the man himself puts it, “The world’s my onion.”

Shulman is equally proud of his own lighting abilities. “I’ll show you something fascinating,” he says, holding up two exteriors of a new modernist home, designed for a family named Abidi, by architect

James Tyler. In the first, the inside of the house is dark, resulting in a handsome, somewhat lifeless image. In the second, it’s been lit in a way that seems a natural balance of indoor and outdoor illumination, yet expresses the structure’s relationship to its site and showcases the architecture’s transparency. “The house is transfigured,” Shulman explains.

of my photographs has a diagonal leading you into the picture,” he says. Taking a notecard and pen, he draws a line from the lower left corner to the upper right, then a second perpendicular line from the lower right corner to the first line. Circling the intersection, he explains, “That’s the point of what we call ‘dynamic symmetry.’” When he holds up the photo again, I see that the line

everyday objects and accessories.

“I think he was trying to portray the lifestyle people might have had if they’d lived in those houses,” suggests the Los Angeles–based architectural photographer Tim Street-Porter. “He was doing— with a totally positive use of the words—advertising or propagandist photographs for the cause.” This impulse culminated in Shulman’s

“I have four Ts. Transcend is, I go beyond what the architect himself has seen. Transfigure—glamorize, dramatize with lighting, time of day.

Translate—there are times, when you’re working with a man like Neutra, who wanted everything the way he wanted it—‘Put the camera here.’ And after he left, I’d put it back where I wanted it, and he wouldn’t know the difference—I translated.

And fourth, I transform the composition with furniture movement.”

To illustrate the latter, Shulman shows me an interior of the Abidi house that looks out from the living room, through a long glass wall, to the grounds. “Almost every one

formed by the bottom of the glass wall—dividing inside from outside— roughly mirrors the diagonal he’s drawn. Shulman then indicates the second, perpendicular line created by the furniture arrangement. “My assistants moved [the coffee table] there, to complete the line. When the owner saw the Polaroid, she said to

introduction of people into his pictures—commonplace today, but virtually unique 50 years ago. “Those photographs—with young, attractive people having breakfast in glass rooms beside carports with twotone cars—were remarkable in the history of architectural photography,” Street-Porter says. “He took that to a wonderfully high level.”

“I tell people in my lectures, ‘If I were modest, I wouldn’t talk about how great I am.’”

Yet when I ask how he developed his eye, Shulman’s expression turns philosophical.

“Sometimes Juergen walks ahead of me, and he’ll look for a composition.

And invariably, he doesn’t see what I see. Architects don’t see what I see.

I tell people in my lectures, ‘If I were modest, I wouldn’t talk about how great I am. her husband, ‘Why don’t we do that all the time?’”

Shulman’s remark references one of his signature gambits: what he calls “dressing the set,” not only by moving furniture but by adding

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for seven years, I was imbued with the pleasure of living close to nature.

It’s God-given,” he says, using the Yiddish word for an act of kindness— “a mitzvah.”

“Most people whose houses I photographed didn’t use their sliding doors,” Shulman says, crossing the living room toward his own glass sliders. “Because flies and lizards would come in; there were strong winds. So I told Soriano I wanted a transition—a screened-in enclosure in front of the living room, kitchen, and bedroom to make an indoor/outdoor room.” Shulman opens the door leading to an exterior dining area. A bird trills loudly. “That’s a wren,” he says, and steps out. “My wife and I had most of our meals out here,” he recalls. “Beautiful.”

When I ask Shulman what Neutra saw in his images, he answers with a seemingly unrelated story. “I was born in Brooklyn in 1910,” says this child of Russian-Jewish immigrants. “When I was three, my father went to the town of Central Village in Connecticut, and was shown this farmhouse—primitive, but [on] a big piece of land. After we moved in, he planted corn and potatoes, my mother milked the cows, and we had a farm life.

“And for seven years, I was imbued with the pleasure of living close to nature. In 1920, when we came here

to Los Angeles, I joined the Boy Scouts, and enjoyed the outdoorliving aspect, hiking and camping.

My father opened a clothing store in Boyle Heights, and my four brothers and sisters and my mother worked in the store. They were businesspeople.”

He flashes a slightly cocky smile. “I was with the Boy Scouts.”

I ask Shulman if he’s surprised at how well his life has turned out.

“I tell students, ‘Don’t take life too seriously—don’t plan nothing nohow,’” he replies. “But I have always observed and respected my destiny. That’s the only way I can describe it. It was meant to be.”

“And it was a destiny that suited you?”

At this, everything rises at once— his eyebrows, his outstretched arms, and his peaceful, satisfied smile.

“Well,” says Shulman, “here I am.”

PULLQUOTE American photographer Julius Shulman’s images of Californian architecture have burned themselves into the retina of the 21th century.

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SUGAR COATED Let your nails do the talking!

And, sugar coat it. Literally!

Pa r a gr aph by H amish Bowles Ph o tographed by Lacy Schley

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L

et your nails do the talking! No need to sugar coat it, unless it’s literally. Dipped in glitter, decorated with candy, or even if you’re just mixing up some new patterns - your nails are a way for you to tell a story.

We should use them to express our inner selves, so why not go crazy? For those who may be a bit more timid and afraid to step outside of their comfort zone, nails are the way to go.

Seeking inspiration from the hottest new nail trends is always a good idea, but why not try something that you normally never would. If you were thinking about getting some new body jewelry but are still hesitant, work those jewels into your style through your nail designs. We have all witnessed celebrities, friends, and even people we pass by in the streets with killer style that’s really out there and like nothing we have ever seen before. Perhaps you’ve always wanted to make a drastic change in your style that’s a little more avant-garde, but you don’t know

how. Start slow and use your nails as a transition into a style much different than the one you are used too. 3-D glass nail trends are a great example of how to amp up your style! This beautiful nail design creation started in Korea and can now be seen all over the world. These nails incorporate shards of glass layered on top of a coat of polish to create a mosaic effect. The end result is phenomenal, this trend is sure to turn heads.

Try ‘em on for size, no harm no foul right? If you don’t absolutely love it, who says you have to keep them? Changing up your look is as simple as a quick change of color. Recently ‘bubble nails’ became trendy but were definitely a matter of taste. Followers of this trend applied acrylic to their nail tips in the shape of bubbles. While most people did not understand the trend, those who were daring enough to try it knew they had nothing to lose. We can all agree that commitment isn’t for everyone, especially when you are

Use your nails to complete your outfit!

If your wardrobe tends to fall in the neutral or dark tones color pallets, throw in some color.

Having that color as an accent on your nails may help pull your outfit together.

someone who changes their mind as much as they do outfits. Luckily unlike a new hair color, your nails can change as often as you like! After all, nails can be one of your best accessories.

Still not sure what to do with your nails?

Use your nails to complete your outfit! If you find that your wardrobe tends to fall in the neutral or dark tones color pallets, throw in some color. Maybe you would never wear a highlighter yellow blouse, but having that color as an accent on your nails may help pull your outfit together. Wanting more? Try going for a slightly neutral color as your base to keep the nails from looking too out there, and then pile on the sprinkles. Not really, but feel free to add any cute decals, and if you’re feeling daring go all out! Kawaii nails are great inspiration as well, these designs include sugar, spice, and everything nice and that’s not an exaggeration. Although they are best known for their use of 3D bows, hearts, and pearls, Kawaii nails incorporate everything from animal shapes to fruit slices. Don’t bother planning your designs, just have fun, and change up the colors and the patterns on each nail and grab yourself some cool 3D accessories!

The possibilities are endless and you can never go wrong. Nail design is an art form and you are the artist, so take your canvas and create something that speaks to you!

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