Aura magazine

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A U R A £4.00 SUMMER 2015




Copyright © A U R A Magazine 2015 / All Rights Reserved

Photography: Darius Lucaciu Hair and makeup: Britta Tess Model: Alice Lucken

Email: Twitter: @aura_magazine





Photography: Matthew Skelton Model: Amee Syeda Makeup: Megan Hurrell

CONTACT Email: Twitter: @aura_magazine

LETTER FROM T H E E D ITO R “Creativity is your best makeup skill, don’t be afraid to experiment.” Pat McGrath

Makeup is a way to alter one’s face, identity, and state of mind. It is, ultimately, an art and a form of expression, not merely a way to hide one’s flaws. For many, it is a practice embedded into daily routines, or an art made into a lifetime career. At A U R A, we aim to help and inspire people who want to pursue a career in makeup artistry. For those who can’t get enough of makeup, who dream up different looks in their sleep, and who live and breathe lipstick and mascara, this magazine is for you. This very first issue of A U R A, Into the Light, is focused on the concept of positivity, shedding light about the world of makeup for you. In this issue, enjoy the work of the inspirational creatives featured, and read about their stories, along with articles about makeup products and techniques. We exhibit a selection of excellent, highly professional makeup artists and photographers, as it is primarily these two roles that need to work efficiently together to produce quality images. We

hope to reinforce a passion for beautiful image-making and makeup artistry in our readers, to invigorate and excite budding makeup artists everywhere. Yet, not forgetting that the fashion industry is tough and demanding, we cover various aspects about being a makeup artist, and provide beneficial advice for getting into the industry. All of our contributors hail from the fashion world, as this is one of the most exciting and happening industries for makeup artists to work in. Our featured makeup artist (page 34), Britta Tess, is the creative behind our striking cover image. Her work embodies what A U R A is about, as it is refreshing and exquisitely executed. We aim to showcase a diverse collection of makeup artists and photographers, some who are very experienced in their field and some emerging talent, but all whom have ambition written in their eyes. With A U R A ’s crisp, clean look and stunning imagery, we invite you into our aura of enthusiasm to celebrate makeup artistry.



ALL ABOUT THAT BRUSH Brushes are a vital tool to a makeup artist, and to anyone wishing to apply makeup for that matter. Without them, achieving an impeccable makeup look would be nearly impossible. There is a brush for everything, and most can be used in more than one way. We show you our six favourite brushes from M.A.C.



Photographer Feature

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MAC 224 Tapered Blending Brush £23.00

For an eye shadow brush, it is large, but its soft and fluffy quality make blending out eye shadow in the crease easy. Best used with only a small amount of product to smooth out shadow already on the lid. It creates a soft, lightweight eye shadow look, and it can also be used for highlighter on the tops of the cheekbones.


MAC 187 Duo Fibre Face Brush £34.50

Lightweight and circular, this brush is perfect for blending in foundation in large areas of the face because of its broad surface area. The super-soft duo fibre bristles allow for seamless application and an even finish. It gives a light to medium coverage of foundation but can easily create smooth layers of product.


MAC 217 Blending Brush £19.00

The texture and quality of its fibres make this brush perfect for applying eye shadow. Its densely-packed hairs mean that the product won’t fall down onto the face when applying it. The oval shape makes it easy to blend eye shadow across the lid and layer the products on top. It is the ultimate shadow brush for a faultless look.


MAC 266 Small Angle Brush £16.50

The small handle size and short hairs of this brush allow for precise application of product onto the eyelid. It’s perfect for gel eyeliner, or eye shadow used as a liner, to create a smooth finish over the lash line. The firm, angled bristles help to achieve an even and defined winged liner look, and can also be used on the lower lash line.


MAC 116 Blush Brush £28.00

The size of this tapered brush fits perfectly over the apples of the cheeks and its round shape blends blush out evenly with circular motions. The soft hairs allow for a seamless application of blush without any streaks. The black colour of the bristles means the product colour won’t show up much, resulting in a cleaner-looking brush.


MAC 219 Pencil Brush £21.00

The firmness of the fibres are great for smudging eyeliner on the top and bottom lash line, and for applying dense amount of product onto the eyelid. Use without any product on the brush to blend out product on the lid already, or apply a thick line of darker eye shadow with its pointed bristles to create a smoky look. ■



HARRIET RAINBOW A freelance makeup artist based the South East of England, Harriet Rainbow’s expertise lies in fashion, beauty, bridal and occasion makeup. She has been working in the industry for seven years, and has built up an extensive list of clients including Twiggy, Andrew Lloyd Webber, and Sky Arts.


Photography: Edd Leigh Styling: Claudia Saadeh Hair: Rebekah Calo Makeup: Harriet Rainbow Model: Nina @ First Model Management




Photography: Edd Leigh Styling: Claudia Saadeh Hair: Rebekah Calo Makeup: Harriet Rainbow Models: Georgie @ Elite London, Nina @ First Model Management, and Chloe @ Profile Model Management



riginally from Kent, Harriet has lived in London and elsewhere, but says she’s too much of a country girl at heart and always ends up back in her hometown. She had a strong interest in makeup and fashion from a young age, and loved looking through glossy magazines. She was completely captivated by period makeup, which lead her to study makeup at the prestigious London College of Fashion straight after leaving school. Her unique style of makeup, and meticulous attention to detail, aims to enhance the model’s natural beauty, to create beautifully flawless, glowing skin. She loves being creative with makeup as each face is so different, and draws inspiration from the person she’s working on. Her work is influenced by nature, colours, textures, and makeup looks throughout the decades. As well as her knowledge of period makeup, she is constantly aware of culture going on around her, keeping up-to-date with current trends in beauty and fashion that feeds into her work. Her endless passion for her job aims to exceed clients’ expectations; she pushes herself to go beyond the brief.

HARRIET’S ADVICE: If you are passionate enough and push yourself you can make your dream a reality. There are so many great makeup courses now, and I do also think experience is so important. Get in touch with makeup artists that inspire you and ask to assist. Get your name out there, work with different photographers, stylists, hair stylists. You never stop learning in this industry, and there are so many career paths you can go down within makeup. Passion and hard work will get you there! ■



“if you are passionate enough and push yourself, you can make your dream a reality”


Photography: Edd Leigh Styling: Claudia Saadeh Hair: Rebekah Calo Makeup: Harriet Rainbow Model: Georgie @ Elite London




HIGH SHINE Glossy, wet skin is in this season; think shine not matte. Peachy pink-coloured eyelids paired with illuminated, glowing skin and drenched hair characterizes the look. We tell you the products you’ll need and how to achieve this trending look.


Photography: Darius Lucaciu Styling: Julian Burlacu and Melinda Danciu Makeup: Britta Tess Hair: Julian Burlacu Manicure: Manu Burlacu Model: Dalia Loncarski Photo Assistant: Roman Pros Production Assistant: Paula Santos




lossy, dewy skin is high on the radar this summer. Models sported slicked back, almost greasy-looking hair on the catwalk of the S/S 15 shows. The key components to the look were highlighted cheekbones, damp or wet hair, and glossy lids. The look requires a certain, soft touch, however, and products need to be applied with delicacy. A little too much gloss and the face can appear oily and unpleasantly sweaty, like you’ve just finished an intense workout at the gym. Skin should look dewy and fresh, but not too clammy. To avoid too much shine, use a blotting paper (we recommend Shiseido Pureness Oil Control Blotting Paper, £18.50) to remove any oil in the t-zone. This look is anything but matte, though, so refrain from using powder over the top of the makeup to maintain moist-looking skin. Start with a radiant moisturiser or primer for the skin; M.A.C Strobe Cream, £24.50, instantly brightens the skin with iridescent, light-reflecting particles that lift any signs of dullness. Use a lightweight foundation that isn’t too heavy on the skin, such as Clinique Perfectly Real Makeup foundation, £22.50, for oilier skin, or Nars Sheer Glow foundation, £31.00, for normal skin types. Add highlighter immediately after foundation to the tops of the cheekbones and brow bones; blend it into the skin for a seamless, natural glow. A liquid highlighter like The Body Shop Radiant Highlighter, £12.00, gives a natural sheen to the skin, and can be used under, over, or mixed in with foundation. A cream highlighter, such as Topshop Glow Highlighter in Polish, £9.00, creates a more prominent shimmer. Apply it to the inner corners of the eyes, down the centre of the nose, and subtly to the cupid’s bow for an all-over glimmer. The rest of the face should be kept mostly bare, with minimal eye makeup and nude lips. A wash of pink over the lids and a transparent gloss over the top effortlessly


complements shiny skin, and enhances the wet look. MAC Creme Brillance Clear Gloss is perfect for a sleek, glossy lid; apply it over MAC Pro Longwear eyeshadow in Pink Frontier, £17.00, to get that peachy flush over the lids. Keep the lips fairly matte to contrast with the glossy lids. A sheer, nude lipstick or lip crayon like Revlon ColourBurst Lip Balm Stain in Honey, £7.99, creates a hint of colour on the lips without overpowering the rest of the makeup, putting emphasis on the radiant skin and glossy eyes. Barely-there blush and extremely minimal contouring and bronzing accentuates lustrous skin. Choose a blush that isn’t heavy or cakey, and that isn’t very pigmented. A cream blush, such as Maxfactor Miracle Touch Creamy Blush in Soft Pink, £6.99, emphasises dewy skin and adds an extra glow, instead of mattifying the skin with a powder blush. Dab the product onto the apples of the cheeks and blend outwards for a subtle, sheer hint of colour. Brushedup brows open up the face, and a brow gel will help to amplify the wet look. A clear or tinted brow gel, like M.A.C Brow Set in Clear, £13.50, or Maybelline Brow Drama Sculpting Mascara, £4.99, can be used to keep hairs in place, while maintaining a natural look. Spray the hair with water or any light hairspray, such as Lee Stafford Poker Straight Shine Serum, £7.99, and brush it back with a fine comb to eliminate any bumps. For a neat wet hair look, brush the hair all the way through and tie in a low ponytail at the nape of the neck. Use a glossing mist, such as John Freida Frizz-Ease Glossing Mist, £5.99, to slick stray hairs down, flat against the head. For a more tousled look, work a serum or lotion through wet hair, we like Bumble and Bumble Styling Lotion, £20.50, for extra texture. Keep the hair combed back at the top, and scrunch up the bottom half for a messy, beachy look. Don’t blow dry to maintain a wet hair look, as if you’ve just stepped out of the shower or the sea. ■

Photography: Darius Lucaciu Styling: Julian Burlacu and Melinda Danciu Makeup: Britta Tess Hair: Julian Burlacu Manicure: Manu Burlacu Model: Katharina Sponner Photo Assistant: Roman Pros Production Assistant: Paula Santos



M AT T H E W S K E LT O N Based in Newcastle, Matthew Skelton is a budding freelance portraiture and fashion photographer with over two years of experience in the industry. His beautifully composed images reflect his thorough work ethic and ambitious character. He talks to us about what it’s like to be a fashion photographer now.



Photography: Matthew Skelton Styling: Abby Dennison Model: Kate Glasgow @ Tyne Tees Models


How did you get into fashion photography? I have always been interested in fashion, but I first got introduced to fashion photography back in college. My tutor had suggested that I should try it out, so I just stuck at it and enjoyed doing it. Where did you study? I studied at Cleveland College of Art and Design and graduated with a Bachelor’s degree in the arts, specialising in Commercial Photography. Which photographers inspire you? Mario Testino, and Guy Bourdin. How do you plan a shoot, and where do you get your ideas? I primarily plan shoots using Pinterest to create mood boards. I then plan out the location, models, and the lighting on a white board, so I know exactly how I want the photos to look and how to get the shots I need on the shoot.

How would you describe your work? Professional, high-end, clean and crisp. What do you enjoy about being a photographer? I love how every shoot is unique and each one brings on different challenges. What is the toughest part about the job? Trying not to compare my work to other fashion photographers’ and their success. It is really easy to do it now as a lot of the work is posted on social media, and I admit, I have fallen in to that trap a few times, but you just have to remember that you are your own worst critic. What advice would you give to people aspiring to get into the industry? Don’t be a one-man band. Always work in a supportive team and work with the best when possible. You could be the best photographer in the world but if you have an unprofessional team, chances are the images won’t come out as high quality as you had planned. ■



“I love how every shoot is unique and each one brings on different challenges�




Being a makeup artist is a physically tiring, unpredictably fluctuant career choice. It is financially unstable and the work is inconsistent. However, the rewards are gratifying when your makeup work is seen and appreciated by many people. Here, we talk you through an experience from our own editor Megan Hurrell, working on set for a music video shoot.



n the heart of Epping Forest, the furthest north-east point on the border of Greater London, the makeup team dragged suitcases and bags - stuffed full of every makeup item imaginable - through mud and leaves. We weren’t entirely sure where we were headed, we just walked in the general direction of the set, which turned out not to be much of a set at all. There was one head makeup artist and three assistants, one of which was me. We were asked to do the makeup for a nighttime, low budget music video shoot in the middle of the forest. It was not the most convenient place to carry heavy cases to, never mind actually setting up a makeup area and applying makeup. After about a 20 minute walk through shrubbery and dodging tree branches, we arrived at a clearing with a small field and a pond. The scene was bathed in the crisp spring evening light and was rather refreshing after the unexpectedly taxing trek to get there. We immediately started sourcing the best area to set up our makeup, but there weren’t any tables or chairs to be found, so doing makeup would be verging on impossible in a forest surrounded by nothing but trees. At 6pm the film and lighting crew began setting up their equipment, and while we waited for a table, the head makeup artist briefed us about the looks we’d be doing. All of the assistants were fairly anxious, as this was the first music video shoot any of us had ever done, especially in this unusual location. The song for the music video was disheartening and melancholy; touching on themes about alcoholism and sex, so the overall mood of the shoot was eerie and mysterious. The makeup, therefore, was to be dark and almost vampire-like. Midnight blues and purples were to be used on eyes and lips to reflect the darkness of the nighttime and the concept of the song. Skin needed to be kept pale to maintain a fantastical, enchanting look, and to make the sombre lips and dramatic eyes stand out. Eventually, someone arrived with a few very low chairs and a battered, foldable wooden table to put all our makeup on. It was hardly large enough, so we had to select the most important products to set out. We began on the extras’ makeup at 7pm, having not had time to eat dinner. To achieve an almost white

skin tone, we mixed M.A.C Studio Face and Body Foundation in White, £28.50, with M.A.C Studio Face and Body Foundation in C1 or N1, the lightest natural skin shades in the range. This foundation is lightweight and creates a satin finish that blends naturally into the skin. Blush, bronzer, and contouring powder were removed from the makeup table so as to keep a flat, washed-out appearance on the face. Each extra’s makeup was to look slightly different but maintain the overall theme and mood of the shoot. For one look I used a dark blue eyeshadow, Maybelline Colour Tattoo 24hr Cream Gel Eyeshadow in Everlasting Navy, £4.99, across the entire lid, blending it out towards the crease. I applied a dark plum toned lipstick, like M.A.C Cremesheen Lipstick in Hang-up, £15.50, and dabbed some of the dark blue cream eyeshadow in the centre of the lips to unite the whole look. I gave some models a purple toned look, using NARS Dual Intensity Eyshadow in Callisto, £21.00 - a shimmery lilac hue - in the inner corners, and M.A.C Eyeshadow in Sketch, £13.00 – a deep plum colour - on the outer corners to intensify the eyes. L’Oreal Super Liner Midnight in Midnight Purple, £6.49, a liquid eyeliner formula, was used on the upper lash line to define the eyes. There were about 20 extras, predominantly female, acting in the music video, which meant each makeup artist had five looks to complete in three hours. It sounds like a long time, but we were doing full-on looks that required time and precision. The conditions of the location were also not easy - as it started getting dark at 9pm, we struggled to see what we were doing. Only a few lights were provided, and it all got a bit manic trying to find products in the dim lighting. Towards the end, we were applying a dark lip to anyone who hadn’t been made-up yet and frantically double-checking everyone’s mascara. Filming began at 10:30pm, and continued until 7am the following morning - literally an all night shoot. After all those hours with my back bent over someone’s face, meticulously drawing on eyeliner and lipstick, I can honestly say it was the most extraordinary shoot I’ve done to date. Despite the cold weather, capricious lighting, and precarious set-up, the experience was priceless and the memory will last a lifetime. ■



M A L E GROOMING When it comes to making-up men for a shoot, it’s not so clear where to apply makeup or how much to put on. In general, men aren’t supposed to look like they’re wearing any makeup, so only miniscule amounts are needed. It should be subtle to liven up the facial features and enhance their looks. We tell you the basics of male grooming and how to get it right.


Photography: Megan Hurrell Grooming: Megan Hurrell Model: Mark Smith





Before any makeup is applied, the model will need moisturising mainly in the centre of the face to brighten and energise the skin - the moisturiser also acts as a good base for makeup and prevents dry patches. We love Clarins Beauty Flash Balm, £22.00, as it provides moisture and radiance that instantly lifts tired-looking skin. Apply it in a pea-sized amount with fingers in a dabbing motion and massage into the skin to add plumpness. Then, rub a cotton pad with cleanser, such as Nivea Daily Essentials 2-in-1 Cleanser and Toner, £3.89, over the skin to gently exfoliate and remove any dead skin or dirt on the face.

Thick, full brows, but not too unruly, are ideal. If necessary, only pluck a few hairs to achieve a slightly neater brow shape. To keep them looking natural but groomed, brush through them with a clean mascara wand or spoolie brush. The M.A.C 204 Lash Brush, £9.50, is perfect for combing eyebrow hairs into place. Maintain any stray hairs with a slick of brow gel we recommend L’Oreal Brow Artist Plumper, £5.99 to slightly tint the hairs. Then lightly fill in any gaps in the brows with Benefit Instant Brow Pencil, £16.50, with short, feathery strokes.






Male models don’t need as flawlessly smooth skin as female models, because men’s skin is naturally coarser, and a certain roughness is desirable. However, dark circles around the eyes and any redness in the skin needs to be covered. A high-coverage, creamy concealer such as Bourjois Correcting Concealer Stick, £7.99, hides blemishes and conceals dark circles with its colour correcting pigmentation. Depending on the job, a full coverage of foundation is not usually necessary. A light layer of foundation or tinted moisturiser is sometimes needed to even out the skin tone. A low coverage foundation like M.A.C Studio Face and Body Foundation, £28.50, is light on the skin and doesn’t look like makeup, and it blends in naturally.


The lips should look natural and healthy without any pigmented products like lipstick or lip tints. To achieve this, take some Vaseline Lip Therapy Petroleum Jelly Original, £2.00, on a cotton bud and press it into the lips, swiping away any dead skin or dry bits. Using a cotton bud is not only hygienic, but also doesn’t apply too much product onto the lips. This technique evens out the natural pink colour of the lips and makes them look fuller. They should look clean without a hint of product.





Applying bronzer to the areas of the face where the sun would naturally hit creates a warm glow to the face. Use a matte formula like The Body Shop Honey Bronzing Powder, £13.00, around the temples, hairline, across the cheekbones, nose and chin, which are the key areas to bronze softly. Maintain a light touch to prevent the model looking too orange. Contouring with the bronzer or a contour powder, such as Sleek Face Contour Kit, £6.49, just under the cheekbones will give the face more dimension and depth. A hint of blush on the apples of the cheeks also enhances the cheekbones and creates a fresh look. Try No7 Blush Tint Stick, £9.00, for a subtle, natural cheek colour.


Use a translucent or sheer powder to remove any oiliness on the face without adding too much extra colour. Smashbox Photo Set Finishing Powder, £19.00, is a light-weight, transparent powder that absorbs oil in the skin and creates a matte finish. Lightly dust the powder over the t-zone where shininess is prone, but leave a bit of natural shine around the outside of the face to maintain a healthy glow. It will help to set the makeup in place and avoid it separating under strong studio lighting. Add more or less depending on the model’s skin type, and keep the powder handy whilst on set for touch ups. ■

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B R I T T A T E S S Originally from Austria, Britta Tess is a freelance makeup artist now living and working in London. She works in beauty, fashion, editorial, film, and commercial fields, and is passionate about creating new looks and experimenting with makeup. She talks to us about what she loves about her job, advice for budding makeup artists and the best shoot she’s ever done.


Photography: Darius Lucaciu Styling: Liqiao Zhu Hair and makeup: Britta Tess Model: Alice Lucken @ Stellamodels




uring the last couple of years in the beauty and fashion industry, Britta has had the chance to collaborate with clients like Max Factor, Levi’s, All Saints, Cosmopolitan, Marie Claire and more. She says ‘it’s exciting to work with so many people that have different and creative points of view and that ‒ besides being able to express myself ‒ is one of the things that I love about being a makeup artist’. The most common beauty mistake she has noticed women make is that ‘they don’t recognise how important it is to feel beautiful on the inside - they think they have to look like the girls on magazine covers’. Along with feeling positive about your own unique beauty, her ultimate beauty tip is to choose a healthy lifestyle. ‘Make sure you nourish yourself in the right way, drink lots of water, don’t smoke and try to think positively. Find out who you are and what makes you special and happy. But to be honest, a touch of concealer won’t hurt to enhance your inner beauty - I couldn’t live without the M.A.C Select Moisturecover Concealer, £15.50.’ ►



“Women don't recognise how important it is to feel beautiful on the inside”



Photography: Darius Lucaciu Styling: Liqiao Zhu Hair and makeup: Britta Tess Model: Alice Lucken @ Stellamodels


Having worked in the industry for over six years, Britta recalls ‘the best shoot I’ve ever done was an editorial in an old nuclear power plant that was not in use. It was freezing cold - this job requires a lot of endurance - but it reminded me how blessed we were to be able to work at places no one else is even allowed to go to and how adventurous my job is. I’ve seen everything from beautiful seasides, to fancy and glamorous hotel rooms to filthy sex clubs’. She advises those who want to get into the industry to ‘get in touch with the right people. Socialize. Don’t give up. Let them know that you exist. Keep trying over and over. Be passionate. Expect struggles and “no’s” to cross your way, but don’t let them get you down. Focus. Think about it as a journey. Have a plan B. You will learn a lot about other people’s egos and yourself, especially if you go abroad. And always remember to smile’.

“I love a feminine, sexy look and teasing out the best side of my model”

When asked what her favourite looks for summer are, Britta replies: ‘candy colours or a natural, shiny look with full lashes and a hint of pink on the lips. I love a feminine, sexy look and teasing out the best side of my model, which is also one of my strengths when it comes to my work’. ■



MY BEAUTY ESSENTIALS Currently based in Cardiff, makeup artist Lucy Cartwright studied at the London College of Fashion, and now specialises in bridal makeup. She is an expert at beautiful, natural-looking makeup - starting with flawless skin. She tells us about her all-time top beauty and makeup products she can’t live without.




Avène Soothing Moisture Mask, £12.00, is a lifesaver! If you have dry, dull, or tired skin, just slather this all over your face, leave it to absorb for 10 minutes and then wipe off the excess with a cloth or cotton pad. It really nourishes and hydrates your face, and the skin is left plump and soft and ready for makeup to be applied on top! I use this a lot when I’m doing bridal makeup as it’s easy to get a bridesmaid or bride to pop it on while I’m working on someone else and it gets their skin nicely prepped for me!



I am currently using M.A.C Strobe Cream, £24.50; this gives the skin a lovely fresh glow and sits beautifully under foundation. I use it primarily on the hightlighted points on the face, so the tops of the cheekbones, the centre of the nose, and the middle of the forehead - areas that I want to accentuate. I also really like Stila’s One Step Colour Corrector, £24.00, primer as it evens out my skin tone and makes my foundations job much easier! For Bridal I use Laura Mercier Radiance Primer, £29.00, as it is a great primer that helps the makeup last and it has a beautiful golden glow.



I love a good corrector! At the moment my favourite is the Bobbi Brown Corrector in Light Bisque, £19.00, as its pink colouration balances out blue-toned dark cirles. The pigmentation counteracts the colours in your skin and makes for a more even skin tone. I apply it after my foundation to the inner corners of my eyes and directly under the lash line, using a M.A.C 195 Concealer Brush, £19.00, to get precise application of the product. It brightens and lifts under my eyes and stops me looking tired and, quite frankly, ill!



As much as I love corrector I cannot use it on its own. Correctors are not skin colour so you need to apply a concealer in your own skin tone over the top. Again there are a few concealers I really like. Bobbi Brown Creamy Concealer, £19.00, is lovely and works well with the corrector. I also really like Nars Creamy Radiant Concealer, £22.00, it is a really nice consistency and it’s really easy to apply. Dab it on in a little upside down triangle under the eyes, blend, and it’s done!



I’m a little bit in love with the Charlotte Tilbury Feline Flick Fine Liner Pen, £22.00, at the moment. It’s a really effective liner pen with a fine point that allows me to create a range of eye makeup looks. In the day it is great for tight lining the eye (drawing a really fine line along the lash line and upper water line). This makes my lashes look much thicker and gives definition to the eye with looking like I have much makeup on. It’s also perfect for doing big bold flicks for a more glam look!



I am also a big fan of the Charlotte Tilbury Filmstar Bronze and Glow, £49.00. Mine is almost completely worn away! It consists of a great bronzer/contour powder colour and a lovely highlighter. It makes contouring so quick and easier than using creams. I use the Charlotte Tilbury Powder and Sculpt Brush, £35.00, to run the contour colour directly under my cheek bones, temples, hairline, under my jaw line and softly down either side of my nose. I then dust the highlighter across the tops of my cheekbones and down the centre of my nose and voilà, I am contoured! ■



E D I T A SIMUTYTE Edita Simutyte is originally from Lithuania and has been living and working in London for five years. She has been a freelance makeup artist for over three years, and works in fashion, beauty, runway, and bridal makeup. She talks to us about why she prefers bridal makeup to anything else and the best ways to start out in the industry as a makeup artist.


How did you get into the makeup industry? Makeup was sort of accidental. Three years ago I decided to make a new turn in my life and become a makeup artist. My mother owns a beauty salon back in Lithuania so makeup and hair styling was something I have easily related to since childhood. Where did you study makeup artistry? I studied for a professional qualification at the Academy of Freelance Makeup (AOFM) in London. I remember having a great time while studying. I met lots of very talented people, and learnt from professionals who worked in the industry. What areas of makeup do you work in the most? I mainly get to work with bridal clients over the summer, and I do editorial and fashion work throughout the year. What is your favourite makeup look to do? I love natural make up. Black lipstick never was my thing. I love contouring, highlighting, colour correcting and concealing. Achieving a dewy ‘no makeup’ look that has been so popular on catwalks as well in editorial shoots recently.

What do you think is the most important and fundamental makeup skill makeup artists should know? I think every makeup artist or anyone who wants to know the secret of looking great should look up colour correcting and concealing. These little techniques transform the face. We are all amazingly beautiful, but just a random spot or a dark circle can ruin the whole image. What do you love about being a makeup artist? It’s the most enjoyable when working with brides. I love the fact that your work takes place on such a happy day and is appreciated instantly. Being a makeup artist is great because I get to fulfil my creative side as well as learn so much about the industry and photography. And the people I get to meet - it feels like a boiling pool of artists and inventors. It’s a very exciting place to be. What’s the toughest part about the job? It’s usually very long hours of standing with my back bent. I am really tall so I have this joke about a foldable high stool I should carry with me, as they are not always provided. ►



How do you get yourself recognised in the industry? As any freelancer you need to work long and hard to get through. Usually for free whilst collaborating with other artists to get some really good work done. However, you need to choose who you work with carefully. Regardless of how good your makeup skills are, if you work with a photographer who clearly has no clue about lighting, the pictures will be unusable. The final images depend on the photographer, so make sure you surround yourself with a good team.

foundation, concealers for all skin colours, powders, lipsticks, pencils, and brushes... The list is endless. Being a makeup artist requires an initial investment that not many people know about. What advice would you give to someone aspiring to be a makeup artist? I would advise them to watch YouTube makeup tutorials – everything is there. And also, to practise, practise, practise. Sign up to the Model Mayhem website where you can find photographers, models, and stylists to collaborate with and to do test shoots with to build up your portfolio. Have an idea of the standard you want to work at – an established makeup artist and photographer you admire. According to that image or vision for how you want your work to look, you can start to build your own portfolio.

“Being a makeup artist requires an initial investment that not many people know about”

What is it like to work backstage at a runway show? Runway shows require a lot of preparation so hair and makeup usually starts quite early. It gets very hectic and in a way it reminds me of a conveyor belt, turning out looks. Fashion designers’ shows usually have around 15 models, meaning the same -or a very similar - look will have to be accurately replicated many times.

What is something many people don’t know about being a makeup artist? It happens quite a lot that people ask why we charge so much or why we can’t do makeup for free. The thing is that to build up a basic kit costs about £2,000 to start with. We need to have around 15-20 shades of


What are the essential items in your makeup kit? My essential products are very similar to an everyday makeup bag. The basics are moisturiser, foundation, concealer, under eye corrector, and mascara. I also have a palette – similar to what painters have – for cream based colours, like lipsticks, that I could apply as a rouge, eyeshadow and lipstick. Makeup is about being creative with what you’ve got. ■

Photography: Sidney Traynham Hair and makeup: Edita Simutyte Designer: Sarmite Ostanevica Styling: Anastasiya Siyanina Model: Natalia Red



Photography: Charlotte Kibbles Makeup: Steph Lai Model: Olivia @ FM Models


CHARLOTTE KIBBLES Graduating from the London College of Fashion with a BA (Hons) in Fashion Photography, Charlotte Kibbles is now an established freelance beauty and fashion photographer. Her work focuses on beauty and hair, yet her portfolio displays a variety of work ranging from lingerie, editorial, to commercial.




harlotte’s work has received high recognition in the fashion world, her portfolio conveying the meticulous skill and talent she exhibits within her field of photography. Her client list is extensive, including major brands such as Nivea, Dove, L’Oreal, Percy and Reed, John Frieda, Very, Batiste, Eyelure, TRESemme, and Unilever - just to name a few. Charlotte’s work specialises in portrait photography of beautifully made-up models, capturing striking hair and makeup looks. Her body of work demonstrates an accute attention to detail in her image composition, photographing models in beautifully lit settings. Charlotte’s poised yet bold style of photography reflects her calm and sanguine personality. Her enthusiasm and energy for her job creates a positive atmosphere on a shoot which helps to bring the team together and create stunning images. She believes that keeping levelheaded and staying calm under the pressure of time on a shoot is key to turning out successful shots. Cooperation with the rest of the people on set, even if you have just met them a few minutes prior to the shoot, is an essential part of the job. With her broad range of experience as a fashion and beauty photographer, Charlotte advises budding creatives to be confident in themselves, express eagerness and organisation, and show a capability to catch on to new tasks and skills quickly. ■


Photography: Charlotte Kibbles Makeup: Steph Lai Model: Olivia @ FM Models




“Charlotte’s body of work demonstrates an accute attention to detail in her image composition”



CATHERINE B A I L E Y Currently based in Surrey, Catherine Bailey is a freelance makeup artist who trained in makeup artistry at the London School of Beauty and Makeup. With experience in fashion and bridal makeup, she talks to us about starting out in the industry and the products that never leave her makeup kit.


How long have you been a makeup artist? Just over two years, I used to work in book publishing but gave it all up for a totally different career! How did you get into the industry, and what was it like when you first started out? I started by doing test shoots with a company called Shooting Beauty to kick-start my portfolio. I then approached lots of fashion and bridal photographers, and did more test shoots with them over a period of a year. How did you get yourself known and promote yourself? I’m active on Twitter and Facebook, I write beauty features for blogs, and I advertise online. Do you have a certain style that sets you apart from others? I don’t know whether it sets me apart as such, but my style is very ‘clean’, crisp and natural. Who or what inspires you? I’m inspired by the colours of nature, by art and paintings, and by the work of very creative makeup artists.

What is your most requested bridal look? 90% of brides say that they just want to look like a more polished and radiant version of themselves. What do you love most about being a makeup artist? The variety, the freedom of being freelance, meeting new people all the time. What do you find most challenging about the job? The unpredictability of the work can be hard to take on a psychological basis, by which I mean having no job security. You can not work for days, and then be triple-booked on one day. Carrying heavy cases of kit around London can be very tiring too – you have to be physically strong and healthy.

“beware of the many unscrupulous people who will try and trick you into working for free”

What’s your favourite makeup brand? It’s tough to pick one brand, but I think Bobbi Brown’s products are generally completely fool proof. Which essential products are always in your makeup kit? Bioderma micellar water to cleanse, a range of different moisturizers to hydrate different skin types, Korres lip balm to soften the lips, and lash curlers to open up the eyes - these are the basics. What’s your favourite makeup look? I like a very clean look with glowing skin and defined lips.

nice and genuine people.

What have you learnt throughout your career? I’ve learned the hard way to value my skills and my time, and to be very careful what jobs I say “yes” to. The more skilled you get, the more confidence you’ll have to say “no” to opportunities that may not benefit you at all. Most importantly I always look to work with

What’s your advice for getting into the beauty/ fashion industry? Try to get as much valuable experience as you possibly can – be like a sponge, be humble, kind and friendly and learn as much as you can from others. Test shoots where no-one is getting paid, and you’re all working together as a team to get great images are essential, but beware of the many unscrupulous people out there who will try and trick you into working for free on commercial projects, with the promise of contacts and pictures. It may be a con, and you’ll learn the hard way not to do it – I know I did! ■


Photography: Megan Hurrell Hair and makeup: Megan Hurrell Model: Catherine Mary

FRESH P O U T Be adventurous with your lipstick this season. Explore four colours to revamp and modernize some classic lip hues.





A natural, effortless look for summer, nude lip colours are understated and modern. Nude shades are low maintenance and easy to wear for all skin tones. A hint of a tonal shade on the lips creates a healthy, minimal look without too much obvious colour. Choose a lipstick with pinky-brown undertones to complement rosy cheeks. Apply the lipstick directly from the bullet, then pat in with a finger for a lived-in, fresh look. Model wears Topshop lipstick in Mink, ÂŁ8.00.








A bold, red lip is right on trend this season, especially one with an orange undertone. Wear it with glowing skin and white liner for a fresh finish. Tone down the glam by pairing it with a minimal eye look, making it more wearable for summer. The modern red lip looks less “done”, with faded, blurred edges - instead of an outdated crisp outline. Apply with fingers or a lip brush, blotting the lips with a tissue between coats, then smudge the edges with a cotton bud. Model wears NARS Semi Matte lipstick in Red Lizard, £20.00.







A vivid colour on the lips immediately livens up a makeup look and creates instant radiance. To achieve a strong pigment, press the lipstick onto the lips in strokes and build up the colour with a few layers. Contrast the bright lip by keeping eyes fairly basic with a simple, light wash of shimmery shadow across the lids. Go for a lipstick with a creamy, moisturising texture that won’t be drying on the lips when a few coats are applied. Model wears M.A.C Cremesheen lipstick in Fan Fare, £15.50.






A lip colour that’s reminiscent of eating freshly-picked blackberries is the modern way to wear a purple-toned lip. This look isn’t about full coverage, it’s more about a stain of colour onto the lips. Dab on the lipstick with a finger, smudge with a cotton bud, re-apply, and repeat until the colour is at the desired intensity. The edges should blur out slightly to imitate the idea of smudging berries on the lips. Add a transparent gloss over the top for a dewy, lustrous look. Model wears M.A.C Lustre lipstick in Capricious, £15.50. ■





GO NUDE Minimal, natural looks are in this season, and it doesn’t stop at hair and makeup - nude nails are everywhere for summer 2015. We show you our edit of the best nude shades on the high street.




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OPI: THE SHEER CORAL “Chillin’ like a Villain” £2.99, 3.75ml

It requires at least three coats for a more pigmented colour, or apply fewer layers for a more sheer look. The light orange tinge adds a fresh but subtle pop of colour to the nails.


TOPSHOP: THE OFF WHITE “Exposed” £5.00, 8ml

A slightly duller version of pure white that works well on all skin tones. With a hint of pale grey, this is a very chic, modern colour to follow the white nail trend in a unique way.


ILLAMASQUA: THE MATTE BEIGE “Monogamous” £14.50, 15ml

A perfect neutral nude, with no obvious undertone hues. Its matte finish makes for a subtle, natural nail colour. Works best on paler skin tones because of its fair flesh-like shade and fingers appear longer.


L’OREAL: THE SEPIA PINK “Beige Boheme” £4.99, 5ml

This pink-brown shade works well on darker skin tones, and is an alternative to classic creamy tones. Nude nails don’t have to mean pale colours, dark nudes also follow the nude nail trend.


KIKO: THE SHIMMERY PEACH “Satin Beige” £3.90, 11ml

Tiny pieces of glitter catch the sunlight and add an extra dimension to this nail polish. An undertone of coral pink makes this colour ideal for summer. ■




ASSISTING There is not a specific set of guidelines for getting into the beauty industry, but assisting a makeup artist is a good place to start. For a beginner, it can be a daunting experience, but it’ll provide priceless insight into working as a makeup artist on set of a film, fashion, or music video shoot.



ssisting a professional makeup artist is a door into the fashion and beauty industries. It can open up a world of opportunities for an aspiring makeup artist, and it is an invaluable learning experience. You’ll learn more from assisting on the job than from any makeup course, as you’ll need to think on your feet. There is usually a hierarchy of assistants, especially on jobs like fashion shows; being at the bottom means you won’t get the most exciting tasks - you’ll most likely be making tea and cleaning brushes - but you’ll gain a lot of knowledge from watching professional makeup artists work. Here are ten tips to help you know what to expect and how to behave as an assistant.


Contact as many people as possible. Who are in the industry already, obviously. Email or call as many professional makeup artists as you can find and just ask if they need an assistant. You are bound to get one job out of it, and that could be your way in to the industry. You may need to show them some of your work as proof you are genuinely interested in makeup.


Show up 15 minutes early. First impressions are definitely important in this industry and being late will not make a good one. People like people who can manage their own time and show that they respect others’ time as well. Being early will also give you extra time to meet the other people on the team.


Be kind to everyone. No one likes unfriendliness, especially to people you’ve just met. Remember to smile, because you never know who you might meet and you may get recommended to other makeup artists for future work, so you want to be enjoyable to work with.


Say yes to everything. When you’re first starting out, always be willing to help out and work for free to get as much experience as possible. Only when you become more experienced can you filter out the jobs that won’t benefit you as an artist. As an amateur, however, you need to constantly be on the look-out for more jobs that you can learn from.


Think ahead. Being an assistant means being the makeup artist’s second pair of eyes. You should always be alert and aware of what they’re doing and of what’s happening around you. Watch what they do, and if you think they may need something, think of it and get it before they even tell you to.


Be enthusiastic. You need a certain energy to be an assistant, to be willing to do anything your artists tells you. A keen interest in makeup is key, and you need to know all the products your artist uses so that when they ask for something, you know exactly what they’re talking about. Don’t be overly energetic to the point that you’re irritating.


Blend into the background. Keep out of the makeup artist’s way as much as possible, and only interfere when needed. Try to be invisible and don’t bother people when they’re working. Just keep busy with tasks you can do without disrupting the artist’s work flow, such as tidying the makeup area and cleaning makeup brushes.


Don’t text or make calls. Unless you’ve been given permission or you are on a break. Texting on set, when you’re meant to be helping your artist, is seen as disrespectful and impolite. If you want to get more assisting jobs and get recommended to other makeup artists, you need to make a good impression.


Listen and soak everything in. The makeup artist you are assisting will most likely have tips for working in the industry and about applying makeup - this is invaluable information that you won’t get from anywhere else. It is an experience that will greatly benefit you as you progress in the industry. You will learn a lot from your artist just by observing what they do, not only their makeup skills, but also how they behave on set and how they interact with the team.


Never promote yourself. When assisting another makeup artist, you shouldn’t hand out your own business cards or try to get other makeup jobs from people in the team. If they like you, they’ll recommend you, you don’t need to advertise yourself. The focus should always be on the artist. You’re just the assistant. So there you go. Take this advice and get yourself out there. Remember, assisting isn’t just for amateurs experienced makeup artists assist all the time because there is always more to learn in the world of makeup. And often, experienced makeup assistants help to apply the makeup to create the desired look, they don’t merely clean brushes and make tea. ■


Cover image Photography: Darius Lucaciu Hair and makeup: Britta Tess Model: Alice Lucken @ Stellamodels


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Photography: Edd Leigh Makeup: Harriet Rainbow Full feature on page 10