I will be the first to admit that I would much rather spend my extra 20 minutes before work or class in the mornings baking my newly invented mini-muffins (recipe below) than painting my face. As a dancer, every opportunity you have to not be suffocating under several centimetres of cake stage makeup is gloriously embraced, so I’m used to just my usual skin regime, moisturiser and some extra SPF 30+ during my day-to-day, and a sneaky eyeliner or happy lips (if I’m organised) after dark. Indeed, I’m prone to forgetting it’s there and sticking my hands all through any minimal makeup I do happen to have on.
Makeup artists I work with have a great time dealing with that.
Recently, though, the screen work I’ve been doing has turned the tables. Contrary to my personal shooting style and preferences, backlight is an absolute nightmare on film, so your face is either in direct light, or a blinded by a reflector. Unlike flash photography (or that handy tungsten light I know you carry around), which actually gives some depth to your bone structure, even Doutzen would suffer from an odd incarnation of moonface. And so, I’ve fallen into rediscovering makeup, which secretly excites me – since observing Charlotte Tilbury work what can only be described as artistic magic backstage at Prabal Gurung two years ago, I’ve had an intrigue in the back of my mind as to the kind of visual science one can create with a creative vision and a set of tools.
It’s almost perfectly fitting, then, that I want to now share Maestro Tilbury’s long awaited cosmetic collection that recently popped up in NET-A-PORTER’s new beauty adventures. For the purpose of my film lighting woes aforementioned, Tilbury’s ‘Highlight’ and ‘Sculpt’ stamped palettes are like an Alice in Wonderland ‘Eat Me’ solution without the unpredictable consequences. Highlight just above the cheekbone, Sculpt just below. Highlight down the middle of your nose, Sculpt on either side. Highlight under your brows to lift your expression, Sculpt along your jawline for all that power. Appreciate how simply beautiful, even 1920s, the packaging is, how generous the mirror surface area is, and how weightlessly it blends into your natural complexion (regardless of your colouring), even without any foundation or concealer.*
To that end, looking awake during my 20 hour days on my recent work trip to Asia is just as important as looking like I actually have bones in my head. Although the respective eye-shadow pencils I feel work best for my Asian eye structure are recommended for blue and hazel eyes, any dab of light on the inner corners of my eyes, graded to the dark on the outer corner, as well as a light line on my lower waterline seems to work miracles when all I can think about is how much my feet hurt and that I haven’t eaten for 10 hours. A very slight slick of coconut oil over the top of your pencil work translates beautifully in evening situations, too.
Meanwhile, have a muffin:
2 cups spelt flour
2 teaspoons baking powder
2 teaspoons baking soda
1 pinch of sea salt
3 ripe bananas, mashed
1/2 cup extra virgin coconut oil
1/3 cup greek yoghurt
2/3 cup almond milk
2 teaspoons vanilla extract
1/2 cup dark chocolate chips
1/2 cup instant coffee granules (optional)
- Combine all dry ingredients in a bowl
- In a separate bowl, mash the bananas well and then mix in the coconut oil, greek yoghurt, almond milk and vanilla
- Thoroughly combine the dry ingredients and the wet ingredients
- Toss in chocolate chips and coffee granules
- Divide the batter into greased muffin tins
- Bake at 180 Celsius for 20 to 25 minutes or until skewer comes out clean
CHANEL Le Vernis Nail Colour
* For those going base-free, I’ve found that a hydrating mask (or serum) an hour or so before you take to your face with a brush and Tilbury works well