Violette - Make-up Artist
Having just finished with the Rouge Dior exhibition, Violette, makeup artist to the biggest stars and Dior's International Makeup Designer and expert beauty consultant shares her best makeup tips.
What were the biggest makeup trends seen at this year’s 66th Cannes Film Festival?
This year, glamour was at its peak: full-package looks, dark eyes, red lips, dramatic winged eyeliner… The Cannes Film Festival truly became the place where makeup, hair and clothing were pushed to their highest degree of perfection.
What I really enjoyed this year was that the glamour in Cannes was a bit more modern, with a hint of sun-kissed glow and just a touch of rock…
What is your work process like during the Cannes Film Festival?
Depending on the dress chosen by the celebrity, the purpose of makeup is to balance out the look. Being a woman myself, I am extremely careful and considerate of my clients. My role is to enhance the natural features of my client, to really bring out what she sees in herself every day. Makeup artists need to be focused not only on their goal, on what they want to do, but they also must be very attentive. Some celebrities have signature looks that they are not only comfortable with but that they can be quite protective of. That being said, the makeup artist needs to be aware of, adapt to and understand what must be respected and what to highlight.
What are your tips for gorgeous red carpet makeup?
The number one most important thing is having a clean face. Skin hygiene must be perfect, which can be achieved through proper exfoliation and a good mask.
Your complexion must be impeccable with a dewy glow. To achieve this effect, I often use Dior’s Skinflash Primer which I dab onto the cheekbones, nose, and around the lips and chin, to attract the light emitted by the flashes of photographers’ cameras.
When I do a smoky look, I am careful to remove any excess makeup that has fallen onto the face with the edge of a brush so that makeup always looks neat and tidy.
Another tip for the red carpet: your body and face color must match. That’s why it is recommended to use the color of your neck as a reference, rather than your face. I often mix foundation with moisturizer to match the skin on arms and legs.
Lastly, it is important to properly sculpt the face and eyebrows: this is what really sets the look. I use black eyeliner on the lids to add volume and open up the eyes.
How did you put together the Rouge Dior exhibition held in the Dior suite during the Cannes Film Festival?
The first makeup product that Christian Dior created was lipstick. I always found it very interesting that a designer could transition from designing a dress to a pair of shoes, from a suit to lipstick. I share this same vision of using lipstick as a fashion accessory. The history of lipstick at Dior really inspired me and I designed this photo exhibition for Rouge Dior’s sixty year anniversary celebration where I was able to incorporate the skills that I acquired at art school to pay tribute to the fashion house.
I wanted to focus on three themes.
First, a film theme, with a real story like in a film by Wong Kar Wai or David Lynch. To do this, I reached out to Txema Yeste with whom we collaborated without using any retouching whatsoever.
I also worked with Benjamin Lenox. He approaches his photos as if they were canvases and I wanted to express my love of painting through him. For our collaboration, I wanted to give the skin the same texture as the mouth to give the appearance of a blank canvas.
Lastly, for the third theme, I really wanted to express the future using 3D with Daniel Sannwald, who transforms his photographs on the computer into futuristic paintings. For the exhibition, we exclusively relied on the computer, playing with textures like liquid poison or smoke billowing from the lips and metal, etc.
Is it a traveling exhibition?
The goal is to continue adding to it so that it eventually becomes a traveling exhibition. My intention is to develop an artistic vision centered on lipstick. I love to pick the minds of the photographers who I work with to find out what they see too. It is truly magical to be able to enhance our own work based on the input of others who provide new horizons for our ideas.
Vogue Russia January 2015
ТЕЛО КАК УЛИКА (THE BODY AS EVIDENCE)
Photographer: Txema Yeste
Stylist: Olga Dunina
Hair: Vi Sapyyapy
Model: Catherine McNeil
Vogue Russia 01.2015. Digital Edition
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