POWDER SOFT MATTE LENS BLUR MOVIE
(Its cofounders, Dean and Davis Factor, are the great-grandsons of Max Factor, the Russian immigrant and cosmetician who catered to the early movie industry in Hollywood and was partially responsible for the powder puff’s unlikely star turn.) “Everything with us starts from how makeup looks when it is photographed-and if it looks good on camera, it’s going to look good in everyday life,” Davis elaborates. Smashbox, she explains, is a studio-based brand.
POWDER SOFT MATTE LENS BLUR PRO
Says Lori Taylor Davis, global pro lead artist for Smashbox Cosmetics, consoling me. “The camera picks up a lot more than the naked eye,” It also gave me the courage to face that peculiarly modern urban bane-my new iPhone’s high-definition camera. But I did notice, during a quiet week in late summer, that the application of a little bit of fairy dust made me stand up that much straighter. To be honest, I’m not entirely sure what it did for my face. I don’t know what de Beauvoir (whose generally minimal makeup routine included tinted moisturizer and a pinkish lip) would have made of it. ROGER CABELLO JOSEPHINE SCHIELE AIMEE BARYCHKO CATHY CRAWFORD With improved formulas and expanded shade ranges, face powder is more friend than foe to a flawless complexion. I settle a cloud of it on my face, inhaling its delicate fragrance-reminiscent of the warm, protective embrace of a wealthy grandmother-and toddle off to an evening reception in honor of a new biography of Simone de Beauvoir.
POWDER SOFT MATTE LENS BLUR SKIN
La Prairie’s Skin Caviar Loose Powder, packaged in a hefty cobalt-blue jar, promises “an invisible protecting veil” plus, it comes with its very own silky powder puff. The effect-though hardly the equivalent of a week’s stay in the City of Light-is best described as creamy. For fuller coverage, I turn to Poudre de Teint Précieuse, a tinted pressed powder from Valmont in a hue called Sandy Beige in Paris. Chantecaille’s Éclat Doux and Sisley-Paris’s Blur Expert pressed-powder compacts add a subtle soft focus to the sometimes harsh reality of my face. “If I want to have a glowy or less matte effect, I use a silky puff.”Įncouraged by these experts, I feel ready to take some powder for a spin. “If I want a velvety, matte finish, I apply it with a big powder brush, and then I use a cotton puff to push it gently into the foundation,” the creative and image director at Dior Makeup says of backstage staples such as Dior’s Forever & Ever Control Loose Powder. Peter Philips has similarly precise ideas about application.
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To get these results “in a more realistic way,” she adds, “just use a little brush.” Inspired by the great fashion illustrators of yore, René Gruau among them, Chachki-whose currency is transformation-says she wants to look “like a drawing of a woman” powder (such as the drugstore find Airspun, beloved of “old-school drag queens”) helps her achieve those pore-filling and light-reflecting aspirations. “A matte face doesn’t pick up the light,” she tells me. But it can be a godsend for women of all ages looking for more control, according to pro-powder burlesque artist and RuPaul’s Drag Race winner Violet Chachki.
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It is just too drying, and unkind to fine lines. A casual remark, overheard at some forgotten department-store makeup counter, cautioned that for women of a certain age, powder is a no-go. Perhaps it was fear, after all, that put me off powder in the first place. The sparkly skin on red carpets and on Instagram feeds-reminding me, at times, of shiny disco balls or a swarm of fireflies in evening gowns-has ushered in the age of conformist dewiness, suggesting that powder and a matte finish, much like girdles and hair rollers, be relegated to the dustbins of history. Yet despite its past glory, powder’s presence on screens and in clutches big and small appears to have recently dimmed. Though the judge may find her foulmouthed, her porcelain complexion will remain flawless. Maisel powders up in a 1950s New York City coffee shop in the wee morning hours, having spent the night in jail on obscenity charges. More recently, streaming direct to your living room on Amazon Prime Video, Rachel Brosnahan’s marvelous Mrs. In The Apartment (1960), a vulnerable Shirley MacLaine powders at the table while trying to fend off the attentions of a married lover who is an executive at the company where she works as an elevator operator. In The Women (1939), glamour-puss Paulette Goddard pulls out a giant shiny compact on the remote Reno ranch where she’s waiting on a quickie divorce. You won’t see it on any Oscar ballots, but powder-that longtime makeup essential-has played a crucial supporting role in many a Hollywood movie.