Recently I’ve read about Givenchy new Makeup Collection for Spring 2011 and although it’s still early to know every detail, I do have some preliminary information and a few photos for you.
Givenchy Makeup Collection for Spring 2011 includes the following products:
Dolce & Gabbana has released the Holiday 2010 makeup collection this month.
Ethereal Beauty Collection is already available @Saks.com and Saks locations.
(法)Chaque saison, Dior Beauté crée un objet à mi-chemin entre l’accessoire de mode et le maquillage. Pour la collection de Noël 2010, la maison lance une minaudière aux imprimés pied de poule dans un écrin de vernis noir. A l’intérieur, on découvre trois fards à paupières et deux gloss. La minaudière sera disponible en deux harmonies "Ors gris" et "Ors roses" à partir du 15 octobre. 80€.
(英)Each season, Dior beauty creates an object to halfway between fashion accessory and make-up. For the collection of Christmas 2010 home starts a minaudière chicken foot prints in a luxurious black lacquer. Inside, it discovers three blush eyelids and two gloss. The minaudière will be available in two harmonies "Grey Ors" and "Ors roses" from October 15. €80.
(法)Nouveau rebondissement dans l’affaire du parfum de Lady Gaga. Après avoir confirmé la sortie de sa fragrance, la star confie maintenant son nom. Suspense… Le parfum de Lady Gaga s’appellera Monster. Comme le nom de son album et également le surnom que Gaga donne à ses fans : "Little Monsters". Seule info manquante à présent, la date de sortie de Monster.
(英)New rebound in the case of the fragrance of Lady Gaga. After confirming the output of its fragrance star now gives its name. Suspense… Lady Gaga perfume called Monster. As the name of the album and also the nickname that Gaga gives fans: "Little Monsters". Only missing info now, date of exit of Monster.
Gran Torino OST - Original Theme Song (Full) - The song really touch in my heart the moment.
2010 伊斯威特：硬漢與音樂 copy byhttp://4bluestones.biz/mtblog/2010/04/post-1912.html
下個月底（五月卅一日），克林．伊斯威特（Clint Eastwood）就要過八十大壽了，雖然他已略顯龍鍾老態，腳步也比較穩重遲緩了，但是創作力卻很旺盛，2009年拍完了《打不倒的勇者（Invictus）》之後，2010年又將一口氣出《從今而後 Hereafter》和《胡佛傳（Hoover）》兩部新片，堪稱老當益壯。
就在瀏覽這八十張生活照與劇照的同時，我另外選擇了克林．伊斯威特電影音樂精選輯做配樂，從他還是《荒野大鏢客》的時期開始，歷經《迷霧追魂（Play Misty for Me）》中電台ＤＪ的情愛驚魂，到他自己作曲的《殺無赦（Unforgiven）》,《強盗保鑣（A Perfect World）》和《麥迪遜之橋（The Bridges of Madison County）》等片，他的硬漢作品配樂，都有強烈節拍，但是他自己譜曲的配樂則多數偏重鋼琴韻律的配樂，曲調幽微，宛如午夜低迴的歎息，不會轟天價響，卻有深情餘韻，襯托得幽淡有致，別有芳香。
年輕時期的克林非常迷戀爵士樂，這也是他後來當上了導演，會把傳奇樂手查理．帕克（Charlie Parker）生平故事拍成電影《菜鳥帕克( Bird)》的潛藏心事，一方面是重溫昔日迷戀的音樂，一方面則是重現偶像的音樂人生，在自己喜愛的題材上能溫故知新，還能自由發揮，這款人生何等美妙？
有音樂天份的導演就順手來替自己的作品配樂吧，《陌生的孩子（Changeling）》和《經典老爺車（Gran Torino）》都有他的手痕，至於《來自硫磺島的信（Letters from Iwo Jima）》和《硫磺島的英雄們(Flags of Our Fathers) 》則讓自己活躍在爵士音樂圈的兒子凱爾（Kyle Eastwood ）亦有機會一展身手。
The NARS Bento Box Set – a limited edition set of two Kabuki cups that were hand-poured
with a new exclusive-to-NARS lipstick formula in highly pigmented shades containing Vitamin E.
Housed in a handmade bento box, the set also comes with a Kabuki lip brush, designed for precise
application by dipping the brush into the cup and blending until desired coverage is achieved.
The new set will be launched on 1st November 2010 @narscosmetics.com but you can enter now and leave your name and email address
if you want to be notified when this special set will be available.
The price of NARS Bento Box Set is $ 125.00 in the US where only 1000 sets will be available
for sale while other 2000 are expected in the stores worldwide.
Backstage Beauty at Marc Jacobs Spring 2011 New York Fashion Week
Behind the scenes at Marc Jacobs Spring 2011 New York Fashion Week show, we caught up with beauty dream team François Nars, Guido Palau and Jan Arnold. The NARS Cosmetics founder talked about the inspiration behind the bleached-brow on the runway, while Redken creative consultant Guido talked about Vogue’s Grace Coddington being a possible muse. CND Nail's Jan also chimed in with new Spring trends.
created by Peter Philips and the new trend suggest a black smokey eye makeup and pink nude lips.
The new collection will include Les 4 Ombres Quadra Eyeshadow in black, white and two pinkish shades, one Chanel Blush, two new nail polishes and a new range of lipstick called Coco Red Shine.For Summer 2011 season Peter Philips sees nails in black and white. Chanel Le Vernis in #513 Black Pearl is a gray shade with light reflections while the other one is a white pearl.Peter said: I wanted to keep a link with the fashion show. The ground was covered with white gravel, I wanted the feet have a touch of white. As for nails, they recall the English garden with black details that were used.
Peter Philips says about the smoky eye intense makeup which he created for this collection:
This is a classic makeup, a thick smoky but rather exaggerated, …This is not a sooty black, which could be a bit harsh, it is dark green and applied wet to reveal subtle reflections. To accompany the smoky, eyebrows have intensified, a touch of kohl pencil applied to the inside of the eye and one drop of mascara “Inimitable”.
This holiday season, EstéeLauder invites you to experience the intensely lavish, new luxury in cosmetics with Pure Color Extravagant by Tom Pecheux. Taking cue from the sophistication and contemporary glamour of the upcoming holiday season, Tom Pecheux created new looks for eyes, lips and nails that are layered with dramatic style and color. Luscious reds and opulent golds set the stage for a bold range of textures that wrap your features in alluring holiday elegance. Introducing Estée Lauder Pure Color Extravagant.
Yesterday, just like he did for Fall 2009, Gareth Pugh surprised press and retailers with a film in place of a runway show. Pugh, who collaborated again with Ruth Hogben on the 11-minute film featuring Kristen McMenamy, said that he was searching for a runway alternative because: “With a show, a lot rides on that very small amount of time and the whole thing comes down to image. If a model trips or has a problem with shoes, that is the thing that endures. It is liberating for a designer not to have to worry about a show. You can get the models to be even more expressive and do it all in a more concise way.”
Suzy Menkes notes that "the feeling persists that backing off from a runway show is a cop-out or a sign of weakness." Pugh says he is aware of "the perception . . . that people aren’t willing to accept something else [besides a runway show],” and distributed a lookbook of the clothes at the end of the presentation as “a way not to scare people off."
The lack in ability to see the clothes at the presentation was a complaint from a number of attendees, however. WWD wrote: "The film wasn’t really a presentation of Pugh’s clothes, but a presentation of his presentation . . . The imagery was heavily manipulated, so judgment on the clothes was withheld until the classic runway shots arrived, showing what looked like a great collection with a lot to offer commercially." The Los Angeles Times's Booth Moore Tweeted: "Why do we watch runway shows live? Because you can't see the clothes on film. Sorry Gareth, that didn't cut it." The International Herald Tribune's Jessica Michault Tweeted: "Is it just me or did that Gareth Pugh video look just like the last one he did a year ago?" And the Wall Street Journal's Christina Binkley Tweeted: Gareth pugh is a film. Beyond art house. Can't see much of the clothes, but it's sterile and dark."
Style.com's Tim Blanks didn't seem to mind the format, however: "What Hogben's film highlighted was the fluidity and movement inherent in Pugh's clothing. A runway could never have done that—nor could the lookbook images that were circulated after the screening
The ’skin’ of photography
Notes on Karl Lagerfeld’s images by Anne Cartier-Bresson
When Karl Lagerfeld began taking an interest in photography, towards the end of the 1980s, he seemed to link, from the start, his artistic work as a fashion designer to his new passion. His images are very personal, even when they are ‘produced’ for the press or for advertising. They are intimate and show a specific taste for some exposure and printing techniques which have the ability to translate his particular vision of reality.
From the 1990s onwards, Karl Lagerfeld became interested in the specific material obtained by the transfer onto paper from an emulsion with instantaneous development, black and white toned in sepia or not, or in color.
In order to do this, he used a 20 x 25 camera. The gelatin emulsion with the positive image is separated with hot water then transferred onto a paper with Arches watercolor grain. With this technique, the delicacy of the tones obtained gives a highly pictorial material and great lightness to the image. Lagerfeld accentuated this effect on a number of prints by manually applying make-up to the prints’ surface using eye shadow or by wiping dry pigments.
Inherited from photographic processes with alkali bichromate which led Alphonse Poitevin to being awarded the Duke of Luynes award for finding stable processes, resinotypes, or resinopigmentypes, were explored by Karl Lagerfeld in 1996-1997. Starting with a 6 x 6 color slide, he obtained a pigmented print whose principle is based on the light hardening of layers of bichromate gelatin. Pigments added with a paintbrush at the surface of the print are heated to be set. This process, which requires significant manual interventions, also enables great freedom in producing the colored surface.
Another pigment process, commercialized by the Fresson family in the 1950s, enabled Lagerfeld to print soft-toned four-color prints, whose image produces a strong pictorial effect, in the same way as that obtained by the Pictorialists at the start of the twentieth century.
His images were printed from 6 x 6 color slides and were never re-framed.
The principle for this photo-mechanical process, which gives images a characteristic appearance, relies on a silver matrix. The image is exposed above a printing screen which retains ink like a stencil. The medium is either silver or gold, or a simple Arches paper in a standard format.
At the end of the 1990s, Karl Lagerfeld experimented with new techniques in his laboratory in studio 7L. Now, starting from digital prints, he had prints made in the Fine Art type, with pigment ink jet, on various media (canvas, crystal paper textured, pure cotton Arches or Hahnemühle paper) which enables the surface and material effects to be varied at will.
Driven by his curiosity and taste for visual experiences as well as for the imaging of his sensitive intuitions, Karl Lagerfeld has been able to adapt the new technical possibilities of photography to his own research, in particular focused around coloring, make-up, bodies and faces. A fashion designer, he graphically transcribes through photography his feeling for landscapes, portraits and nudes. To this end, he always chooses media whose sensitivity to light meets a certain sensuality and plays with a wide range of processes as well as with significantly sophisticated methods.
The time period for his photographic work, from 1987 to now, has seen many significant changes in exposure and printing. Karl Lagerfeld has relied on this change but also on the parallel development of an alternative film photography which, as with haute couture, is capable in terms of image of highlighting the manual aspect and craftsmanship of printing, which in turn transforms the image into a unique piece.
Chanel Color Collection for Holiday 2010