|
|||||||||||||
Site officiel ContapharmCouleurs de verresLe maquillage des yeux doit tenir compte de la couleur des verres de lunettes. Avec les verres optiques organiques l'on peut incorporer plusieurs teintes qui colorent les yeux et les paupières, comme un maquillage. Caractéristiques optiques de verres.Avant de se maquiller, il est recommandé d'appliquer une base. Le maquillage pour les yeux tient mieux ainsi car on transpire vite sous les lunettes. Après l'application d'un soin pour les yeux, on prépare les paupières et le contour de l'oeil avec un anti-cernes (concealer) dans le ton qui convient. Les femmes qui portent des lunettes et qui ont de longs cils doivent faire attention à ce que les lunettes ne soient pas trop proches de l'oeil. On peut également discuter de l'épaisseur des verres avec son opticien. Dans tous les cas, il ne faut pas utiliser de mascara qui allonge les cils. Afin d'atteindre malgré tout un beau volume, il existe une base de mascara spéciale que l'on applique avant le mascara lui-même. Conseils pour personnes atteintes de myopie :
Lorsque l'on est atteint de myopie, l'oeil semble plus petit derrière les verres. Il est fondamental d'utiliser un maquillage avec des couleurs éclatantes. Le must absolu : éclairer le contour de l'oeil. Cela agrandit l'oeil. Les ombres à paupières irisées de couleur claire renforcent cette impression. Commencez par appliquer les ombres à paupière claires sur toute la paupière. Appliquez le ton plus foncé dans le creux de la paupière et de l'extérieur de la paupière vers le centre. Mettez l'accent en surlignant le dessous des sourcils et en appliquant du crayon kohl tendre sur le rebord de l'oeil.
Conseils pour les personnes atteintes de l'hypermétropie :
Lorsque l'on est atteint de la presbytie ou l'hypermétropie, l'oeil semble plus gros derrière les lunettes. Utilisez des crayons kohl noirs ou de couleur dans l'oeil, c'est-à-dire sur le rebord des cils. L'eye-liner, qui doit être appliqué d'un seul trait, convient particulièrement. Les couleurs d'ombres à paupières sombres et mates rendent les yeux plus petits et plus expressifs derrière les lunettes. Appliquez une nuance intermédiaire dans les tons de brun, de vert ou de gris sur toute la paupière. Accentuez le creux de la paupière, le dessous des cils et les coins des yeux avec des tons plus foncés.
Les coiffures avec franges. Il faut éviter les montures trop grandes ou trop marquées. Avec les coiffures très courtes, les montures peuvent soit être sophistiquées ou accuser le style garçon, avec les chignons ou les cheveux tirés, des formes légères et douces sont indiquées, pour ne pas accentuer l'effet strict. Avec les cheveux mi-longs en volume, nous conseillons des montures très féminines de formes ovales ou papillons. Avec les coiffures très "juniors" les couleurs et les formes doivent être fantaisistes. The mouth Of all the questions I am most frequently asked, one often relates to how to make up the lips, what colors to use, if and when to use a pencil, all doubts which might basically boll down to one single question: "how should I express my sensuality?'' In the language of facial expressions, the lips are in fact the synonym of seduction, of a desire to conquer, the statement of one's femininity. We may think, for example, of how in the '70s, during the great reversal of roles which women sparked of by seeking to affirm their equal rights with men, their look underwent a radical change, shifting focus onto the eyes at the expense of the mouth. The eyes are in fact synonymous with rationality, reason, determination, with a more cerebral seductiveness In those years women took possession of their intellectual capacities and decided to be seen no longer as seductresses, but as beings able to think and organize, also redesigning an image on their faces to underline this new aspect. And so the mouth (sensuality) was practically cancelled out, made up with pastel shades, making it the least visible possible. On the contrary, the eyes (intellect) were emphasized with very dark lines and actual "packets" of false eyelashes to make them out of proportion. SOME HINTS TO INTERPRET FEMININITY
First of all it is always a good idea to re-draw the lips with a soft pencil, which is easy to shade, slightly emphasizing them, and respecting their natural outline. If you find it difficult to see the exact shape of your mouth, don't forget that the comers of the lips must imaginarily be "contained" in your pupils, as illustrated in the picture alongside (fig. I). If your lower or upper lip is slightly out of proportion, redraw the outlines, widening the thinner one by 2 millimeters at most (fig. 2). It is almost always unadvisable to make the lips smaller since the correction is often very visible and consequently unnatural. If the corners of your mouth seems down-turned or not very "happy'; it often depends on the size of the lower lip. The simplest correction can be made by not outlining the lower lip right to the corners, interrupting the line first, and not touching the part of the lips which "droops" and makes your face look sadder (fig. 3). Mat textures are advisable for particularly fleshy lips, to prevent them attracting undue attention, remember that the step from sensuality to vulgarity is very short. Use glossy or lacquered lipsticks if your lips are very Chin, after making the correction described for too small lips.
All this should help us to understand the importance of the role of the lips in distinguishing the relationship with sensuality over the decades, according to their shape and color. Let's use this as a guide to see how the mouth has been modified in the succession of the various looks. In the '20s, the years of the great silent movies, the lips acquired a small, slim shape, drawn in a perfect heart shape to emphasize the "dramatic" image of the period, and were made up with tendentiously dark colors which were more "readable" on black and white film. The transition to the'3os was underlined by larger lips playing a more important, visible role, tending to be glossy in the shades of reddish brown, red and also a hint of maroon. In the '40s the shape of the mouth became softer and more rounded, greatly recalling the image of two segments of an orange without a hollow in the upper lip: shades were especially pinkish and bright and the texture of lipsticks was pasty and tended to be mat. The '50s and the early '60s were the background for the great Hollywood stars like Marilyn Monroe and Audrey Hepburn, whom we may remember with their perfectly shaped, red-colored and impeccably lacquered mouths. In the period from the late '60s to the end of the '70s, we have already described in detail how the image of the lips underwent a radical change, completely cancelled out, moving the focus to the eyes in harmony with the philosophy of that period. In the '80s with the great explosion of the disco-dance phenomenon, the shape of the lips returned to the context of "decoration" for the face, colored with effervescent shades and pearled effects, or becoming simply drawings outlined on the face. The '90s, right up to our day, but in my view now, in a revived and re-interpreted form, but still recalling the various periods. WHAT COLORS TO USE? Laying down hard-and-fast rules is like warping your creativity in self-expression! We may only give a few hints. People with black, or dark brown hair and a light complexion are particularly enhanced by lips made up in ice pink shade, wisteria and all the brick shades; if your complexion is dark, for black-haired girls, the ideal colors are shades of bronze, and orange, which enliven your look and enhance your smile. I like to imagine blondes with a light complexion in very tender pastel shades, tending to shiny but not too showy; an excellent alternative could be to make up the lips in red trying to be as soft as possible in making up the eyes. If your complexion is dark, coral shades with a touch of orange give blondes a touch of exotic fantasy. Red-heads are somewhat limited in their choice, in that they may indulge in shades of brown and red, but should avoid shades with a pink component: this little rule is advisable both for red-heads with a dark complexion and for those with a light one. There is nothing left to say and you may use your lipsticks and pencils as if they were sexy underwear to dress and undress your lips, like veritable weapons of seduction, and, if you are a little nostalgic, take a peep at the stars of the past, and copy the version of femininity which suits you best. Stefano Ghidoni
PERRET OPTICIENS et ses collaborateurs tiennent compte de tous ces critères de choix, mais également et par dessus tout de vos goûts personnels. |
|||||||||||||
|
|||||||||||||