For those of you who opted to watch the Kardashians take Fashion Week last night instead of the 73rd Annual Golden Globes broadcast, please take this time to google “Golden Globes 2016 style” and come right back. All done? Great—you just saved yourself four hours of guacamole-fueled couch sitting. Now, we invite you to a pre-event gathering at Kirsten Dunst’s house, thanks to makeup artist Pati Dubroff (using all Chanel everything). Here’s how they achieved last night’s best smoky eye:
“The process started last week—Kirsten started texting me pictures of the dresses and so I started texting her inspiration photos for the makeup. It’s an exciting time, that build-up. The dress is Valentino Couture…It’s velvet and incredible. With her stylist, we started talking about John Singer Sargent paintings, and how in those paintings, the velvet really reads. Then we were looking at images of Debbie Harry because there had to be a rock ‘n roll element. We knew we wanted to do a dark, dramatic eye. And then I started to look at Helmut Newton and at vampire movies…the process went all over the place. So from Thursday to Friday, I was in super research mode, and then Saturday was all about getting the kit ready.
On Sunday, we all gathered at her house—Garrett [Hedlund] was there, and Cervando came to do her hair. She kept saying, ‘I’m chill, and I’m excited.’ And we were like, ‘OK, there’s chill and relaxed, and that’s chillaxed… what’s chill and excited? We were like, chill-ited? That sounds like a disease…’
On her face, I start with skincare. Samantha from Intraceuticals had come and given her an oxygen treatment, so her skin was prepped and glowy, and then I put some Simple Facial Moisturizer on her. And then for primer I used Clarins Instant Smooth Perfecting Touch Primer, which mattifies. There’s something about the velvet dress that I wanted the skin to also feel like velvet and not have any sheen. It just felt right.
For the eye, I started with a black pencil first—Chanel Stylo Yeux Waterproof Long Lasting Eyeliner in Noir Intense—and smudged it close to the lash line and the inner rim. I also had her do some of the eye herself, so she could really get in there and make it perfect. Then I took the same pencil in Purple Choc, and I went lashline to crease, and blended it. For the shadow, I used Chanel Essentielle Soft Touch Eyeshadow in Ebony, and layered an eggplant-colored Nars Matte Eyeshadow over that, so the eye is dark but tonal. Then I put Chanel Illusion d’Ombre Luminous Eyeshadow in Mirifique over the purple, which has a slight shimmer.
On the lashes, there’s loads of Le Volume de Chanel Mascara in Noir. Loads and loads. We layered it three times, upper and lower lashes—I didn’t care if it got a bit clumpy, because it helps with that rock ‘n roll vibe. For the browbone, we used Chanel Illusion d’Ombre Long Wear Luminous Eyeshadow in Moonlight Pink. That helped push her browbone back a little bit. The brow was defined. We used an Anastasia Brow Pencil, but a little bit lighter than I would have used normally, just to give her some brow definition. I would’ve loved to bleach her brows, but this isn’t the Met Ball.
For the blush, I had her smile. I only put it where the apples pop out, so you don’t get too close to the sides of the nose. And I use a fan brush and just fan over those apples, avoiding the creases. For the lips, I layered a bright shade and a pale shade of apricot. For the first layer, I pushed Rouge Coco Stylo Complete Care Lipshine in Article into the lips with my finger. Then I did the paler of the two tones—the same lipshine in Script—and I kept that in the center of the mouth. And then I pushed that in with my finger, too, cleaning it up on the outer edge with a concealer brush—no lip liner. The lip and the cheek are a bit peaches and cream, like her complexion. But then there’s that hard eye. You never want it to get too sweet.”
—as told to ITG
Photos via Pati Dubroff and Getty.
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