Makeup

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Makeup

Postby sknss » Fri Aug 02, 2013 8:46 am

before/after

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Re: Makeup

Postby germinal » Fri Aug 02, 2013 9:06 am

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Fashion Show Nº29, Men’s Collection Spring–Summer 2000

"That was just an amazing collection, just rip-roaring. Some people thought it was too avant-garde. I had this idea for the kites because the collection was inspired by Andrew Wyeth, and we thought it would be a great idea to take the painter’s colour palette and team it with the sensibility of A Clockwork Orange, which is where the idea of the baseball bats come in. And then the black streak over one eye, that was just totally inspired. That was another show that I thought had bombed. I was in the back the whole time, dressing the models. And I was sure everybody hated it, but then I came out and I found that most people had loved it."
- Paul Sinclaire, stylist and collaborator, Show Nº 27–32

Dries Van Noten, 01–50 Golden Anniversary


http://cotonblanc.tumblr.com/post/57029 ... ing-summer
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Re: Makeup

Postby sknss » Fri Aug 02, 2013 9:11 am

cdg fw 2004
offset lips
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ysl ss 2010
crazy eyelashes
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prada fw 2013
wet look
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Re: Makeup

Postby germinal » Fri Aug 02, 2013 9:21 am

YYPH 2013

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also lmao at the url of the nowfashion image: /2012-06-28-16-32-52-yoshi-yamamoto-men-1651.jpg

i love that prada make up. Are we set to become a forum of Prada obsessives?
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Re: Makeup

Postby Syeknom » Fri Aug 02, 2013 9:26 am

I'm obsessed with Prada creepers right now so the answer is a cheery "quite possibly"
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Re: Makeup

Postby germinal » Fri Aug 02, 2013 9:34 am

For the last few days they've had a half-page advert in the telegraph with just a picture of these shoes
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and "PRADA" and now i want them
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Re: Makeup

Postby Syeknom » Fri Aug 02, 2013 9:37 am

The evil hand of marketing tickling your consumeristic urges

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But fuck, I really want those as well - gorgeous
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Re: Makeup

Postby sknss » Fri Aug 02, 2013 9:46 am

germinal wrote:Are we set to become a forum of Prada obsessives?


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Re: Makeup

Postby Syeknom » Fri Aug 02, 2013 9:52 am

New banner for the forum right there make it happen
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Re: Makeup

Postby germinal » Fri Aug 02, 2013 10:18 am

just so long as Raf remains
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Re: Makeup

Postby Syeknom » Fri Aug 02, 2013 10:59 am

sknss wrote:prada fw 2013
wet look
Spoiler:
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This is really exquisite by the way
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Re: Makeup

Postby sknss » Wed Aug 07, 2013 5:14 am

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Re: Makeup

Postby Syeknom » Wed Aug 07, 2013 5:18 am

Do you wear much makeup, sknnnnsss?
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Re: Makeup

Postby sknss » Wed Aug 07, 2013 5:38 am

no i'm a bit lazy
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Re: Makeup

Postby sknss » Wed Aug 07, 2013 6:20 am

what about you syek?
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Re: Makeup

Postby Syeknom » Wed Aug 07, 2013 6:26 am

Alas I do not wear any! I think men should be "allowed" to wear eye shadow though.
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Re: Makeup

Postby sknss » Wed Aug 07, 2013 6:38 am

don't ask for permission

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Re: Makeup

Postby Syeknom » Wed Aug 07, 2013 6:41 am

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Re: Makeup

Postby Syeknom » Wed Aug 07, 2013 4:24 pm

Margiela, 1991

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Re: Makeup

Postby germinal » Mon Aug 12, 2013 7:35 am

ACR x Uslu Airlines Nail Polish

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COLORS:
_RAF GREEN [ GLOSS ] uslu airport code 'ACR' - Araracuara - Columbia
_BLACK [ MATTE ] uslu airport code 'NYM' - Nadym - Russian Federation


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DESCRIPTION:
'uslu airlines and ACRONYM® attack with 2 special ops colours and a custom tactical bag. Nail polishes ACR + NYM come in matte black and army green, and the 3A-12TS bag impresses its non-surprising ACRONYM hi-tech thought-out usability features. Unisex synergy at its best.'


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Re: Makeup

Postby Syeknom » Mon Aug 12, 2013 7:50 am

That looks cool, Uslu Airlines look really interesting.

What's the deal with ACRONYM - I don't know much about them. "Tech" stuff, right?
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Re: Makeup

Postby can- » Mon Aug 12, 2013 8:00 am

we could probably use an acr or tech thread.

acronym is probably the most interesting 'mainstream' tech brand. they carry a really sick future/military aesthetic but errolson hugh is also really pushing functional innovation. a lot of stuff you wont find anywhere else-- the way the bags interface with his jackets, interops modularity.

i can't find a video, but syeknom i think it would great for you to watch some of their videos. the escape zip is particularly elite-- most of his gore pro jackets are designed such that you can quickly open the fully zipped front by pulling at the top. hard to describe but it will blow your mind when you see it.
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Re: Makeup

Postby germinal » Mon Aug 12, 2013 8:02 am

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Re: Makeup

Postby Syeknom » Mon Aug 12, 2013 8:19 am

I've got my homework for tonight, cheers fellas.
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Re: Makeup

Postby bels » Mon Aug 12, 2013 4:47 pm

ACR make the real weeaboo ghost in the shell dystopia millionaire shit. P sure Solid Snake has a full ACR wardrobe.
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Re: Makeup

Postby bels » Mon Aug 12, 2013 4:48 pm

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Re: Makeup

Postby smiles » Mon Aug 12, 2013 10:09 pm

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草地跑過的腳印
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Re: Makeup

Postby germinal » Tue Aug 13, 2013 2:16 pm

INSIDER: INGE GROGNARD
Uncovering the make-up artist who shaped the anti-fashion aesthetic of Belgian’s new wave


By Natasha Slee
Published: August 12, 2013.

The ‘Antwerp Six’ heralded the breakthrough of Belgian fashion when they brought their distinctly anarchist vision to London Fashion Week in 1986. Instrumental to the projection of this vision, in shows and still images, were husband and wife duo, photographer Ronald Stoops and make-up artist Inge Grognard.

From a country with little fashion industry to speak of before that time, came Walter Van Beirendonck, Ann Demeulemeester and Dries Van Noten – Martin Margiela came later, an old friend of Grognard’s. Together they reinterpreted fashion, within the freedom of eighties fashion-less Belgium.

Here, alongside a selection of early images by her husband and her work from the pages of Dazed & Confused, Grognard muses on the early infamous days, the new wave of Belgian talent, and her life-long collaborators.

Dazed Digital: When did you first start collaborating with the ‘Antwerp Six’ designers, and Martin Margiela?

Inge Grognard: In a way I started working with them before they even graduated. I’ve known Martin Margiela since I was 14 years old and he was a very good friend of mine, so the moment he went to the Academy [Royal Academy of Fine Arts, Antwerp], we began working on photo shoots. But then they graduated, and I really started to work with them. We went to London [in 1986], and then there was a thing that happened in Florence…oh it was such a long time ago. I worked for all of them.

We were experimenting. [Each designer] had their own style, but it was not so pronounced like it is now. We still had to search; at that time I had to do also the hair, because in Belgium separate make-up artists and hair didn’t exist! We had to learn everything.

DD: What were your influences and inspirations at that time?

Inge Grognard: We were looking abroad of course, because all the magazines you could find [were from abroad.] We had Blitz magazine, we had The Face, and all those things we went through, it was like food, food for our souls. They were well formed already at the Academy; they knew how they could do their research. I learned a lot off them, to go to bookshops, to see movies, to go to concerts. All of those things influenced us. And then the thing that we always wanted to do is not do what we already saw, but to try to find something newer, something else. What we always wanted to do is to make it from ourselves.

DD: If a ‘fashion’ industry didn’t exist in Belgium before your collaborations with the Antwerp Six, what inspired you to become a make up artist in the first place?

Inge Grognard: I was really interested in clothes when I was eight or nine years old, but it’s not that I was brought up in a family that was fashion minded, not at all. Culture, yes: classic music, art and all those things – just not fashion. But I had kind of a nose. When I went shopping with my mother, even though I didn’t realise the prices, I always chose the most expensive [clothes]. I didn’t want to be dressed like everybody else. I just didn’t want to be like all the other people in my school.

I did not want to go to the Academy, because I didn’t feel like becoming a painter and I didn’t want to be a fashion designer either because my drawing was not strong enough I thought. I was really interested by the face, body and all those things you could do with that. I went to a beauty school, but I never assisted people in make up, like all those people do now. They assist a big name and they become also a big name, but at the moment I started it didn’t exist. Not, of course, in Belgium.

DD: Do you think it is possible to recreate that movement that happened in the early eighties today, in Belgium again or elsewhere in the world?

Inge Grognard: No, it’s not possible. Times change. Already the pleasure we had to go to London, to go to Paris, and to find bookshops, and find books that didn’t exist here in Belgium, already that kind of pleasure it’s not there anymore because you just Google. We had so much fun with that, but now you just push the button on your computer and you find images and articles; you find everything.

I am going online now, but I have lots of books. It’s the only thing I really invested in. Sometimes when I find a book and it’s difficult to find, I still buy it because for me that is the most interesting thing. I still go into my library and the books I bought nearly 30 years ago, I’m still reading them.

DD: You have collaborated with your husband, photographer Ronald Stoops, for your entire career. How do you inspire each other?

Inge Grognard: It’s two worlds: we grew up in our work together. My work comes out best with him, always. But maybe also because I can do little manipulations… When you work with a photographer, you do the job, then you go home and he can do whatever he wants with the picture. But with Ronald…I’m a control freak, he’s a control freak and I think that’s great, it works really well.

I really love to work with people I know already a long time. It’s not about flintstone: you speak and do a lot of brainstorming, and that’s the way we always work. Even when we work together with artists, it’s ‘this idea, this idea’, and then it starts working in your head. It’s never, ‘this song was my flintstone’. It’s a stomach feeling, the feeling I feel with the people I work with.

DD: Peter de Potter wrote the intro to your first book, Make Up, in 1998. What did you think of his words?

Inge Grognard: It was me! The way he wrote, I recognised myself in it, that was the most important thing. He knows what I want to say with my work. Some people are scared by the work but it’s very poetic sometimes; it’s dark but it’s poetic. Peter is an incredible person, he’s a very good writer. I knew him from the Academy, like all the other people I know. His articles were all so good, so critical, that I thought about him putting the right words in my first book.

DD: What do you like about collaborating with Robbie Spencer for the pages of Dazed & Confused?

Inge Grognard: I always looking forward to working with Robbie. He is an amazing stylist, more than a stylist. I met him on another job, a long time ago in Paris. He’s very talented I think, he’s sensitive and he has a very good eye. He’s not scared to try out things and he’s very honest. When he doesn’t like a thing, he can say it, and I love that.

DD: What is you greatest fashion memory from your career so far?

Inge Grognard: For me, it was a very emotional moment - it was the end of twenty years of Martin Margiela. Nobody knew, but I knew - even though he didn’t tell me - it was his last show. It was very emotional, but also very beautiful. I did 40 seasons with him, 20 years, so it’s a long time.

DD: What are you looking forward to next?

Inge Grognard: I just want to continue doing good things. Also, what I really love is consulting and helping people out. I think it’s my duty: I had the opportunity to work with so many amazing people, to do what I really wanted to do, and you have to pass that through. What I love the most is when you read blogs and you really can inspire people; not to be scared, to do what they have in mind, what they really feel, what they have to do.

http://www.dazeddigital.com/fashion/art ... e-grognard

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Walter van Beirendonck S/S 92

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Dirk Bikkembergs A/W 97

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A.F. Vandevorst A/W 98

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Raf Simons A/W 98

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Dries van Noten A/W 97

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Maison Martin Margiela A/W 92
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Re: Makeup

Postby sknss » Fri Aug 23, 2013 12:18 pm

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calvin klein fw 2013
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Re: Makeup

Postby germinal » Sat Aug 24, 2013 5:27 am

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dvn aw12
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