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Wednesday January 1, 2014 MYT 12:00:00 AM
Wednesday January 1, 2014 MYT 8:05:19 AM
by bee shapiro
Amy Adams (left) and Christian Bale in a scene from American Hustle. For fashion inspiration, one might look to the glamorous 1970s makeover of Adams.
In new movie American Hustle, set in the late 1970s, the stars wore dramatic make-up and bouncy coifs.
FOR this new year, one might look to the glamorous 1970s makeover of Amy Adams on American Hustle (the beauty equivalent of the plunging sequined minidress). Herein, the film’s hair and make-up experts, along with Gina Brooke, Madonna’s make-up artist, and Michael Angelo, a favourite hairstylist of New York social swans, tell how to get the look you want to know better.
“I’ve really noticed the 70s coming back in make-up in general,” said Evelyne Noraz, the department head of make-up for American Hustle. “It was easy for me to just walk in the store and pick up items whose colours worked for the time.” For Adams, who plays a con artist, she liked Lancôme’s eye-shadow palettes and Hourglass lip colours.
“If you’re talking about the late 70s, which is when the movie was set, you had almost every colour of the spectrum out there,” Noraz said, pointing to the three-colour eye, often in blues, pinks and purples, that was popular into the 80s.
Jennifer Lawrence, who plays a Long Island housewife in the film, got especially crazy colours, along with dramatically contoured cheeks. “David O. Russell kept saying, ‘More, more, more!’ in the make-up tests,” Noraz said.
Brooke’s modern-day version has a subtler touch. “You’re not applying as heavy nor sculpting as much,” she said.
1) She prepped the skin with a lightweight hydrator such as Intraceuticals serum. Next, both face primer and eye primer by Urban Decay were smoothed on. “It keeps everything in place, especially if it’s going to be a long night,” she said. Then with a sponge, she applied Shu Uemura’s Lightbulb Foundation. “I’m obsessed with it,” Brooke said. “It doesn’t change with different lighting, so you know your party pictures will look good.”
2) To brush up brows and fill in, Brooke preferred Kevin Aucoin’s fine-tipped pencil.
3) Line upper and lower lash lines. Brooke used Chanel’s Illusion d’Ombre in Mirifique, a charcoal-black eye shadow with silver flecks and a texture she likened to mousse. “You can use it for a liner and for contouring into the eye crease,” she said. She drew a more elongated eye, very feline and Bianca Jagger. On the lid, she patted Mushroom eye shadow, a warm silver by Urban Decay. And because it’s New Year’s Eve and we’re talking 70s, she added an extra dab of silver glitter to the center of the lid. The final touches: fake strip lashes trimmed to match your eye shape and a light application of Giorgio Armani fluid highlighter to the brow bone.
4) “Much of the look was about this very aggressive blush that’s like a stripe,” Brooke said. “But too much blush can really age or date somebody.” Instead, she dusted a neutral-colored hue into the hollows for a hint of sculpturing before sweeping on L’Oréal Visible Lift blush in Rose Gold (“gorgeous on everyone”) in an upward slant.
5) Line lips with a burgundy pencil. “There were a lot of rustic red-browns then,” she said, though “sometimes a dark hue can drag your face downwards,” in which case you can sub a peppier deep pink or crimson. For shine, she dabbed that old faithful, Elizabeth Arden Eight Hour Cream, on top.
For girls with curls, the late 70s was a glorious era: Hair flowed freely, and frizz was fine. For American Hustle, Kathrine Gordon, Adams’ personal on-set stylist, drew inspiration in part from old clips of Diane von Furstenberg and Patti Hansen. There was also some of the 30s and 40s influence coming back around, like the bouncy coifs of the Breck girl and Brenda Starr, Gordon said.
“Amy has got gorgeous hair to start,” Gordon said. “But it’s not curly. It more has a very slight wave to it. So for the tight curls, we used a curling iron all over that was about two pencils thick.”
Gordon, who described Adams’ on-screen look as sophisticated (“she’s a con, but she’s dealing with the art world”), said to pay attention to the weather. “If it’s going to be foggy, your hair is going to drop,” she said. Her trick: “Pull on the curls ever so slightly while giving them a little blow-dryer action. Then I rub the hair with my hands gently. It creates this fuzziness that’s really sexy.”
In real life, Angelo, owner of Michael Angelo’s Wonderland Beauty Parlor in the meatpacking district, recommended grabbing a friend and following these steps:
1) Angelo first worked in mousse at the roots and ran the product into the ends with his fingers. “Slightly damp hair is best, but dry hair works as well,” he said. “If your hair is stick straight, you might want to first blow it out with a round brush so the ends have some bend.” Next, he spritzed strands with a heat styling product like Oribe Soft Lacquer for longevity.
2) The era was all about hot rollers, Angelo said. If you’re skilled at working with them, then go for it, he said. Otherwise, today’s curling irons give greater control and offer higher heat settings, meaning longer-lasting curls. It’s also important to work with your texture, he added. No need to temper natural waves or frizz. “That was part of the look,” he said, as he divided strands into sections before curling and pinning each ringlet up to set.
3) Allow curls to cool, and spray with a flexible working spray, like Shu Uemura Sheer Lacquer. “Ideally, you could work on your makeup now,” Angelo said. If tight on time, use a blow dryer with a diffuser attachment on the cool setting.
4) Unpin the ringlets and brush out with a paddle brush. “This is the moment when some women might hesitate,” he said. “You’ve put in so much work, and to take a brush to it might be daunting. Go for it.”
5) Spritz generously with a product that has some strength, like Elnett or Oribe Dry Texturizing spray. “Just like with the face, hair should be sculpted,” Angelo said. “It’s the total antithesis of the look today, which is not very done. This is glamour.” – International New York Times
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