Iridescent Lips, Grungy Eyeliner, and More of Fall's Hottest Makeup Trends
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I know what you're thinking: How can we discuss next fall's trends while we're still shoveling snow from the sidewalk? February marks the start of fashion month, which means that for the next few weeks, we will get to explore, analyze, and admire what the runways predict will be the fall and winter 2025 beauty trends.
For makeup, several runway shows emphasized the importance of experimentation, demonstrating looks with unexpected colors, like blue and green. Interesting makeup placements also dominated the runways, inspiring us to think outside the box.
Though simple makeup looks will always have their place, intensity, vibrancy, and passion reigned supreme this season, leading us away from minimalism and toward drama and fantasy. Below, take a look at the best makeup trends we spotted on the runway.
Gone are the days when we would run away from blue and green eyeshadow. These colors will be inescapable this fall, and designers like Christian Cowan and Luar are leading the charge. The colors aren't as jarring as you may think; with so many ways to dip your toe into the trend, you can incorporate these colors in a way that works with your taste. If you are a novice, try using green or blue eyeliner, similar to the models at Anna Sui. However, if you prefer drama, fully saturate your eyelids with vibrant shades of blue and green from the Rimmel London Magnif'eyes Palette to get the Christian Cowan mod '60s vibe.$8.46 at amazon.com
Moving down the face, quirky, vibrant lips are in this season. And no, not just your typical bright red (although the models at Alice and Olivia and Coach made a compelling case for it). We're talking about shades of blue, purple, green, and even iridescent pearly tones. While some of the shades may not seem practical for everyday wear, designers like Christopher John Rogers exist to let you know that beauty is what you make it—there are no rules. Who says you can wear your makeup with a blue lip? At Christopher John Rogers, key artist Alex Levy used a mix of the MAC Cosmetics Perpetual Shock MAC Color Excess Gel Pencil Eyeliner, MAC Dazzle Shadow Extreme in color Emerald Cut, and MAC Dazzle Shadow Liquid eye shadow in color Diamond Crumblesover the lips. Then, he added the MAC Clear Lipglass as a finishing touch.$26.00 at maccosmetics.com
Moody makeup looks will always be a cold-weather staple. Alluring, edgy, and sultry, something about dark, deep hues in a makeup look will always be a win in our book. Of course, one of the pillars of the moody grungy makeup aesthetic is the cat eye. At Kim Shui, the classic cat eye was the star of the show, with the tail of the black eyeliner lightly brushed out and surrounded by a soft white eyeshadow.
Over at Luar, makeup artist Terry Barber was inspired by 'late '80s supermodel glam meets DIY club drag.' That translated to an ombre, cut-crease eyeshadow look comprised of chalky white, black, and grey eyeshadow and brushed-out eyeliner using the MAC Eye Kohl Pencil in Feline to get a pristine cat eye shape.$23.00 at ulta.com
A good blush is probably one of the easiest ways to elevate a makeup look. Whether you like a full beat or are loyal to the minimalist makeup aesthetic, the right blush—and strategic placement—will make all the difference. Marc Jacobs inspired us all to think outside the box with blush. Though you may not be placing big red dots on your face any time soon, this look was an opportunity to think about blush placement and how it can help accentuate your unique features. At Diotima, blush was vibrant, dewy, and bold, thanks to the Addiction Tokyo Blush in Raspberry Chocolate and Kiss The Night.$26.00 at addictiontokyobeauty.com
The smokey eye, much like the cat eye, is here to stay. But this season, designers didn't just want you to buff out your dark shadows and call it a day—they wanted you to have a little bit more fun. At Khaite, shadows were applied higher up on the lids to allow for some negative space between the lashes and the shadow. At Tory Burch, instead of reaching for a black or deep brown shade, makeup artists opted for a light grey, almost silver hue for a subtle yet ethereal twist.
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10 hours ago
- Yahoo
'I Don't Understand You': Nick Kroll, Andrew Rannells movie inspired by adoption fraud story from filmmakers
While Nick Kroll and Andrew Rannells voice some pretty hysterical characters in Big Mouth, they're now sharing the screen in the horror-comedy I Don't Understand You (now in theatres). Written and directed by married filmmakers David Joseph Craig and Brian Crano, the movie had a particularly interesting starting point. In I Don't Understand You Kroll and Rannells play a couple, Dom and Cole, who have just fallen victim to adoption fraud, but things are looking up. A pregnant woman named Candace (Amanda Seyfried) thinks they're the right fit for the family to adopt her child. But just before that happens, Dom and Cole take a romantic Italian vacation. Things take a turn when they get lost outside of Rome, trying to find a restaurant. As their stranded in an unknown location, the trip turns to bloody Italian chaos. As Craig and Crano identified, the first portion of the movie, up until the couple gets stuck going to the restaurant, is quite close to the real experience the filmmakers had. "We were adopting a child. We had been through an adoption scam, which was heartbreaking, and then had a completely different experience when we matched with the birth mother of our son," Crano told Yahoo. "But we found out that we were going to have him literally like two days before we were going on our 10th anniversary trip." "And we were like, 'Shit, should we not go?' But we decided to do it, and you're so emotionally opened up and vulnerable in that moment that it felt like a very similar experience to being in a horror movie, even though it's a joyful kind of situation." A key element of I Don't Understand You is that feeling of shock once the story turns from a romance-comedy to something much bloodier. It feels abrupt, but it's that jolt of the contrast that also makes that moment feel particularly impactful to watch. "Our sense of filmmaking is so ... based on surprise," Craig said. "As a cinephile, my main decade to go to are outlandish '90s movies, because they just take you to a different space, and as long as you have a reality to the characters that are already at hand, you can kind of take them wherever." "Personally, the situation of adoption was a constant jolt [from] one emotion to another that we felt like that was the right way to tell a story like this, which was literally, fall in love with a couple and then send them into a complete nightmare. And I think you can only get that if you do it abruptly, and kind of manically." While Rannells and Kroll have that funny and sweet chemistry the story needs, these were roles that weren't written for them. But it works because Crano and Craig know how to write in each other's voices so well, that's where a lot of the dialogue is pulled from. Additionally, the filmmakers had the "creative trust" in each other to pitch any idea, as random as it may have seemed, to see if it could work for the film. "When you're with somebody you've lived with for 15 years, there is very little that I can do that would embarrass me in front of David," Crano said. "So that level of creative freedom is very generative." "We were able to screw up in front of each other a lot without it affecting the rest of our day," Craig added. Of course, with the language barrier between the filmmakers and the Italian cast, it was a real collaboration to help make the script feel authentic for those characters. "All of the Italian actors and crew were very helpful in terms of being like, 'Well I feel like my character is from the south and wouldn't say it in this way.' And helped us build the language," Crano said. "And it was just a very trusting process, because neither of us are fluent enough to have that kind of dialectical specificity that you would in English." "It was super cool to just be watching an actor perform a scene that you've written in English that has been translated a couple of times, but you still completely understand it, just by the generosity of their performance." For Craig, he has an extensive resume of acting roles, including projects like Boy Erased and episodes of Dropout. Among the esteemed alumni of the Upright Citizens Brigade, he had a writing "itch" for a long time, and was "in awe" of Crano's work as a director. "Truthfully, in a weird way, it felt like such a far off, distant job, because everything felt really difficult, and I think with this project it just made me understand that it was just something I truly love and truly wanted to do," Craig said. "I love the idea of creative control and being in a really collaborative situation. Acting allows you to do that momentarily, but I think like every other job that you can do on a film is much longer lasting, and I think that's something I was truly seeking." For Crano, he also grew up as a theatre kid, moving on to writing plays in college. "The first time I got laughs for jokes I was like, 'Oh, this is it. Let's figure out how to do this,'" he said. "I was playwriting in London, my mom got sick in the States, so I came back, and I started writing a movie, because I was living in [Los Angeles] and I thought, well there are no playwrights in L.A., I better write a movie.'" That's when Crano found a mentor in Peter Friedlander, who's currently the head of scripted series, U.S. and Canada, at Netflix. "I had written this feature and ... we met with a bunch of directors, great directors, directors I truly admire, and they would be like, 'It should be like this.' And I'd be like, 'Yeah, that's fine, but maybe it's more like this.' And after about five of those Peter was like, 'You're going to direct it. We'll make some shorts. We'll see if you can do it.' He just sort of saw it," Crano recalled. "It's nice to be seen in any capacity for your ability, but [I started to realize] this is not so different from writing, it's just sort of writing and physical space and storytelling, and I love to do it. ... It is a very difficult job, because it requires so much money to test the theory, to even see if you can." But being able to work together on I Don't Understand You, the couple were able to learn things about and from each other through the filmmaking process. "David is lovely to everyone," Crano said. "He is much nicer than I am at a sort of base level, and makes everyone feel that they can perform at the best of their ability. And that's a really good lesson." "Brian literally doesn't take anything personally," Craig added. "Almost to a fault." "And it's very helpful in an environment where you're getting a lot of no's, to have a partner who's literally like, 'Oh, it's just no for now. Great, let's move on. Let's find somebody who's going to say yes, maybe we'll come back to that no later.' I'm the pessimist who's sitting in the corner going, 'Somebody just rejected me, I don't know what to do.' ... It just makes you move, and that's that's very helpful for me."
Yahoo
10 hours ago
- Yahoo
'I Don't Understand You': Nick Kroll, Andrew Rannells movie based on adoption fraud story from filmmakers
While Nick Kroll and Andrew Rannells voice some pretty hysterical characters in Big Mouth, they're now sharing the screen in the horror-comedy I Don't Understand You (now in theatres). Written and directed by married filmmakers David Joseph Craig and Brian Crano, the movie had a particularly interesting starting point. In I Don't Understand You Kroll and Rannells play a couple, Dom and Cole, who have just fallen victim to adoption fraud, but things are looking up. A pregnant woman named Candace (Amanda Seyfried) thinks they're the right fit for the family to adopt her child. But just before that happens, Dom and Cole take a romantic Italian vacation. Things take a turn when they get lost outside of Rome, trying to find a restaurant. As their stranded in an unknown location, the trip turns to bloody Italian chaos. As Craig and Crano identified, the first portion of the movie, up until the couple gets stuck going to the restaurant, is quite close to the real adoption experience the filmmakers had. "We were adopting a child. We had been through an adoption scam, which was heartbreaking, and then had a completely different experience when we matched with the birth mother of our son," Crano told Yahoo. "But we found out that we were going to have him literally like two days before we were going on our 10th anniversary trip." "And we were like, 'Shit, should we not go?' But we decided to do it, and you're so emotionally opened up and vulnerable in that moment that it felt like a very similar experience to being in a horror movie, even though it's a joyful kind of situation." A key element of I Don't Understand You is that feeling of shock once the story turns from a romance-comedy to something much bloodier. It feels abrupt, but it's that jolt of the contrast that also makes that moment feel particularly impactful to watch. "Our sense of filmmaker is so much based on surprise, Craig said. "As a cinephile, my main decade to go to are outlandish '90s movies, because they just take you to a different space, and as long as you have a reality to the characters that are already at hand, you can kind of take them wherever." "Personally, the situation of adoption was a constant jolt [from] one emotion to another that we felt like that was the right way to tell a story like this, which was literally, fall in love with a couple and then send them into a complete nightmare. And I think you can only get that way if you do it abruptly, and kind of manically." While Rannells and Kroll have that funny and sweet chemistry the story needs, these were roles that weren't written for them. But it works because Crano and Craig know how to write in each other's voices so well, that's where a lot of the dialogue is pulled from. Additionally, the filmmakers had the "creative trust" in each other to pitch any idea, as random as it may have seemed, to see if it could work for the film. "When you're with somebody you've lived with for 15 years, there is very little that I can do that would embarrass me in front of David," Crano said. "So that level of creative freedom is very generative." "We were able to screw up in front of each other a lot without it affecting the rest of our day," Craig added. Of course, with the language barrier between the filmmakers and the Italian cast, it was a real collaboration to help make the script feel authentic for those characters. "All of the Italian actors and crew were very helpful in terms of being like, 'Well I feel like my character is is from the south and wouldn't say it in this way.' And helped us build the language," Crano said. "And it was just a very trusting process, because neither of us are fluent enough to have that kind of dialectical specificity that you would in English." "It was super cool to just be watching an actor perform a scene that you've written in English that has been translated a couple of times, but you still completely understand it, just by the generosity of their performance." For Craig, he has an extensive resume of acting roles, including projects like Boy Erased and episodes of Dropout. Among the esteemed alumni of the Upright Citizens Brigade, he had a writing "itch" for a long time, and was "in awe" of Crano's work as a director. "Truthfully, in a weird way, it felt like such a far off, distang job, because everything felt really difficult, and I think with this project it just made me understand that it was just something I truly love and truly wanted to do," Craig said. "I love the idea of creative control and being in a really collaborative situation. Acting allows you to do that momentarily, but I think like every other job that you can do on a film is much longer lasting, and I think that's something I was truly seeking." For Crano, he also grew up as a theatre kid, moving on to writing plays in college. "The first time I got laughs for jokes I was like, 'Oh, this is it. Let's figure out how to do this,'" he said. "I was playwriting in London, my mom got sick in the States, so I came back, and I started writing a movie, because I was living in [Los Angeles] and I thought, well there are no playwrights in L.A., I better write a movie.'" That's when Crano found a mentor in Peter Friedlander, who's currently the head of scripted series, U.S. and Canada, at Netflix. "I had written this feature and ... we met with a bunch of directors, great directors, directors I truly admire, and they would be like, 'It should be like this.' And I'd be like, 'Yeah, that's fine, but maybe it's more like this.' And after about five of those Peter was like, 'You're going to direct it. We'll make some shorts. We'll see if you can do it.' He just sort of saw it," Crano recalled. "It's nice to be seen in any capacity for your ability, but [I started to realize] this is not so different from writing, it's just sort of writing and physical space and storytelling, and I love to do it. ... It is a very difficult job, because it requires so much money to test the theory, to even see if you can." But being able to work together on I Don't Understand You, the couple were able to learn things about and from each other through the filmmaking process. "David is lovely to everyone," Crano said. "He is much nicer than I am at a sort of base level, and makes everyone feel that they can perform at the best of their ability. And that's a really good lesson." "Brian literally doesn't take anything personally," Craig added. "Almost to a fault." "And it's very helpful in an environment where you're getting a lot of no's, to have a partner who's literally like, 'Oh, it's just no for now. Great, let's move on. Let's find somebody who's going to say yes, maybe we'll come back to that no later.' I'm the pessimist who's sitting in the corner going, 'Somebody just rejected me, I don't know what to do.' ... It just makes you move, and that's that's very helpful for me."
Yahoo
17 hours ago
- Yahoo
This Brilliant Costco Product Turns Any Door into a Screen Door
This article may contain affiliate links that Yahoo and/or the publisher may receive a commission from if you buy a product or service through those links. There are two types of people when it comes to summer weather: those who keep the AC on throughout the season, and those who can't go without a summer breeze wafting through the house. If you're the latter, then you need to know about this awesome Costco retractable screen door that turns any exterior door frame into a screened slider in just about 30 minutes. 'Today at Costco, I spotted a retractable screen door with a quick-snap assembly,' Laura from the Costco Hot Finds Instagram account said in a June 3 video. 'It says it has an average 30-minute install with only five parts and the Costco price looks like it was $100 less than anywhere else.' She added in the caption, 'I'm pretty sure you can install two of these side by side on a sliding glass door to make a double opening.' The Genius COOL Retractable Screen Doors ($199 online at Costco) allow fresh air into the home and keep bugs and pests out. And you don't need any carpentry skills to install it: Just snap the track into place and use the included hardware to keep the door firmly in the frame. Then you're ready to slide — slamming screen doors are a thing of the past. And when the weather cools, or you don't need the screen in place anymore, just slide the door back into the frame and it remains out of the way. No need to uninstall the entire unit. You can purchase the Genius COOL Retractable Screen Door online at Costco for $190. For non-Costco members, the same door is available on Amazon at a higher price. No matter where you shop, be sure to pick one up for every exterior door in your home and let the fresh air , $318.67 Amazon $296 Buy Now This article originally published on Apartment Therapy. See it there: This Brilliant Costco Product Turns Any Door into a Screen Door We Tested 5 Ways to Get Slime Out of a Carpet and the Winner Left No Trace I Bought a Helix Mattress for My Kid — Here's My Review 49 Stylish Nursery Ideas for the Unique Baby Room of Your Dreams
