Beauty influencer shows extensive two-hour makeover for family wedding – but her ‘accident' steals all the attention
WEDDING FAIL
She admitted it looked as though a "four-year-old" had done it
A INFLUENCER has left people stunned by her epic beauty fail ahead of a family wedding.
Chloe took to TikTok to share a video of herself prepping for her cousin's nuptials, as she detailed the products she was using for her dewy but glam make-up look.
2
2
"I've got two hours to get ready," she said, as she got started on her transformation.
"That's like hair, make-up, like everything."
As she had "quite a long day" ahead of her, she needed to make the make-up last.
And being recently engaged herself, Chloe said it's made her appreciate weddings even more.
"I just love weddings, especially even more now while I'm getting married myself because I like to like look at all the inspo, like the dress and everything.
"It's just so exciting!"
While people were quick to thank Chloe for sharing her recommended beauty products, others were more than a little distracted by her hands.
Chloe even addressed it in the video, as she said: "Some of you might have by now noticed, there was definitely an accident with my hands.
"It's giving a four-year-old has done my fake tan!"
Despite her remarks, Chloe was almost immediately targeted in the comments section about the patchy, orange tan on her hands.
I get stopped in the street and asked which fake tan I use - a Superdrug fave's my go-to & a £3 buy to apply it is key
"Please tell me that's going to wash off your hands??!!" one person pleaded.
With Chloe replying: "I tried, wouldn't come off!"
Some then offered their top tips to get the tan off, with toothpaste, hairspray, washing up liquid and lemon juice all among the recommendations - as well as "Rose and caramel tan remover".
"Aldi's fake tan remover is great for that," someone else added.
"With a brush softens it!"
"No hate but your hands look so bad," another said.
Fake Tan Lovers Guide to Applying it Streak-Free
Here's Fabulous ultimate guide to a flawless, streak-free fake tan that will leave you looking like you've just stepped off the beach...
Preparation is Key
A streak-free tan starts with proper skin prep. Exfoliate your skin thoroughly 24 hours before application. Focus on rough areas like elbows, knees and ankles to ensure an even canvas. Opt for an exfoliator with natural ingredients to avoid irritation.
Hydration Station
Moisturise your entire body right after exfoliating, but pay extra attention to dry patches. On the day of tanning, only apply a light, oil-free moisturiser to these areas a few hours before you plan to tan. This prevents the tan from clinging to dry spots and developing unevenly.
Formulate, Don't Hate
Selecting the right fake tan product can make all the difference. Mousse formulas are easiest to apply and blend. Tanning drops can be added to your regular face moisturiser to match your face with your body.
Application O'Clock
Using a tanning mitt is non-negotiable for an even application. Dispense a small amount of product onto the mitt and apply in long, sweeping motions. Start from your ankles and work your way up to avoid creases. Apply sparingly on joints and use a fluffy make-up brush for your hands and feet.
Post-Tan Care
Once you've applied your tan, allow it to dry completely before dressing. Loose, dark clothing is best to avoid transferring colour. Avoid water and sweat for at least six to eight hours while the tan develops. After your first rinse, pat your skin dry gently and moisturise daily to prolong your tan.
With someone else adding: "I'm glad I'm not the only one who thought that!"
"Chloe! The hands!" another gasped.
To which she replied "YOLO".
"I can't believe the people on this app. ever heard of 'if you ain't got anything nice to say, don't say anything at all' ???" someone else said.
"Wash your hands with a gritty body scrub or even a tiny bit of soap powder, it gets the fake tan off," another recommended.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Daily Mail
4 minutes ago
- Daily Mail
I live with my ex in a tiny flat even though we broke up - we still share a bed but neither of us can afford to move out
A woman has revealed how she's still living with her ex-boyfriend in a tiny flat - even though they broke up months earlier. Bethany Lee, who is from Devon, broke up with her fiancé David Smith around three months ago. The couple, who had been together for two and a half years and share one-year-old son Finneas, are still sharing the cooking and cleaning - and even sleep in the same bed. Bethany, who is in her late 20s, says that neither of them can afford to move out so for now they're making do in the 'tiny' two-bedroom flat in Derbyshire. She explained that the break-up was 'pretty mutual' and they still 'get along really well as friends'. In a video on TikTok, where she's posting with the aim to raise enough money to move out, Bethany said: 'I've been living with my ex-boyfriend for three months now and everyone's a bit interested in it. 'We just can't afford to live separately. We can hardly afford to live here together in this cheap little flat as it is because of the cost of living crisis.' 'It's not as weird as you think. Not ideal though,' she confessed in the comment section. Bethany and David met in their first year of university and were in the same halls. But their relationship didn't immediately go to plan, as Bethany became pregnant after knowing each other for just three months. 'Shock, our relationship didn't work out,' she said in her TikTok video. Now, her ex-partner works five to six days a week in management, while she works three days a week as a receptionist. This means that she will mainly do the cooking and cleaning during the week, to give her ex time with their son on his days off. She explained that initially post break-up, they'd tried to do things separately, such as washing and cooking, but it 'didn't work out' as the space they're sharing is so small. She explained: 'Now our set up is very similar to how it would be when we were in a relationship, where I cook and I do a lot more of the housework and he is out at work a lot more hours than I am.' Her partner did sleep on the sofa initially and they considered getting a sofa bed, but decided the money would be better used to save towards her moving out. Giving her followers a tour of her flat, Beth said it has 'no storage' and only one cupboard, containing the boiler. Moving onto the kitchen, she compared it to a 'glorified hallway with cupboards'. 'Every inch of space has been used to store stuff,' she said. In the comments, she admitted it's 'hard' but she doesn't 'know what else to do'. However, she did admit in the comment section that they're no longer having sex. Rushing to the comments, many were left baffled at Bethany and David's living arrangements. They said: 'I'm gonna say it. You can't be friends with an EX, because you either never loved or you are still in love with them'; 'You guys are basically a married couple without realising it.' Bethany admitted she does the majority of the cleaning as David is often at work Others thought it was unfair that Bethany was taking on the majority of the housework, especially since the breakup. One wrote: 'So he's basically got a live in maid sorry you deserve better girl look up the mental load.' A second said: 'I think he should pay you or cover more of the rent for the work you do for him,' while a third added: 'Girl you have been brainwashed.' However, another person praised the former couple as 'Brilliant parents. Total respect to you both.' In another video, Beth shared clips of herself 'cleaning up for the third time that day' before preparing dinner for her son and her ex. After receiving backlash, she clarified in another video that she enjoys the cleaning, and can make money by filming herself doing it on TikTok. Now she's started to look around for a new place to live, and hopes to go back to university in September to study psychology.
Telegraph
10 minutes ago
- Telegraph
Richard Wilson's fantastic King Lear is proof that the BBC should be doing more Shakespeare
According to the actor Jonathan Pryce, you should play Lear while your back can still handle it. Pryce played the octogenarian king when he was a mere 65, and still put his back out staggering onstage with Cordelia in his arms. Drama on 4: King Lear (Radio 4, Sunday) gave us a satisfying reminder that radio drama can reach the places other mediums can't, as the 89-year-old Richard Wilson took on the role – becoming the oldest British actor to do so in the process. When he staggers on with Cordelia in Sunday's concluding part, Wilson's back will be safe. Clive Brill's production, while relatively no-frills, is a treat, as well as being a potential blueprint for BBC radio drama. Wilson is the eye-catching name at the top of the bill, but the undercard isn't too shabby either – Toby Jones as Gloucester, David Tennant as Edmund, Greta Scacchi as Goneril, Tamsin Greig as Regan. Renowned cellist Steven Isserlis adds interstitial howls from his bow, which begin a little overbearing but grow in stature as the play increases in intensity. Among the less starry cast, Trevor Fox's Geordie Fool stands out. However, it is Wilson that this production will be judged on. His Lear is a slow-burn, beginning, as he vaingloriously beseeches his daughters to shower him with sycophancy in return for a share of the kingdom, in a stubbornly low gear. It is a little jarring at first, with Lear sounding mildly peeved rather than furious at Cordelia's refusal to play ball. 'Come not between a dragon and his wrath,' he says, sounding more like a sleepy guard dog lazing in the sun. While it's sensible not to start Lear at too high a pitch – he has some serious emotional mountains to climb later – I was, in those very early scenes, left wanting a bit more p--s and vinegar from Wilson. His stolid, pompous statesman act felt like it was going to be overshadowed by Tennant's duplicitous bastard (in every sense of the word) Edmund. Tennant gave the listener a fairground ride of an opening soliloquy ('Why brand they us / With base? with baseness? bastardy? base, base?') and his slippery chameleon act was matched by an emotionally raw performance from Jones, who reacted to Edgar's invented betrayal with the sort of passion previously missing from Wilson. Perhaps Wilson was to play an anchor role next to the pyrotechnics from his younger castmates. I was, like Lear, too quick to rush judgement and gradually Wilson's haughty, dismissive old king began to take a grip on proceedings. His Lear is a man who has grown used to hearing no dissent, to having his every whim catered to. When things do not go his way, he does not get angry (at first), because he does not need to – he'll still win. At the point Cordelia 'betrays' him, his reaction is not hot anger, but a surprised disappointment followed by a swift execution. He is vain, thin-skinned, completely in love with his own power, and unwilling to brook any kind of dissent or believe the cards will not fall for him. 'Fetch me a better answer,' he says when Regan and Goneril will not meet him. There is, yes, something very Trumpian about this Lear. If there's a sense that Wilson is saving something up for the more explosive events of this weekend's instalment, that's understandable, but it's tricky to truly give a verdict on his Lear before he has wandered the heath and delivered the most memorable lines ('Blow, winds, and crack your cheeks!', 'Howl, howl, howl, howl!', 'I don't believe it!' etc). Yet what a pleasure it is to hear him, age 89, delivering the words that presumably he'd long given up imagining he would. The production is also a salute to the power of the older actor – Matthew Marsh (Kent) is 70, Scacchi is 65, Jones and Greig are 58. Yet that cast is significant for another reason – put this production on in the West End, with the same actors, and you'd be paying more than £100 to sit behind a pillar or peer at them dimly from the upper circle. With theatre pricing becoming increasingly eye-watering, the BBC has a chance to remind everyone (ahead of charter renewal) of its essential place in British culture. With the Corporation's sway and reputation, they could put a star-name Shakespeare on once a month, or even once a week, increasing access beyond those who can justify the exorbitant West End fees. Not only can BBC radio drama save Wilson's back, it can save something that should be coursing through the nation's veins.
The Guardian
12 minutes ago
- The Guardian
Relief after 10 dance centres for children across England saved from cuts
Campaigners from the world of dance including Arlene Phillips and Matthew Bourne have been celebrating after a training scheme for children was saved that they say stops the art form becoming the preserve of the elite. The National Centres for Advanced Training in Dance, or National Dance CATs, work with 10- to 18-years-olds to provide them with multiple sessions of training each week, which is combined with their mainstream education. The centres use outreach programmes to attract dancers from outside of traditional backgrounds in a bid to make dance, which has had issues with elitism for decades, more diverse and equitable. High-profile dance figures feared the 10 National Dance CATs could have been scrapped after a £300,000 grant for outreach work was cut in December 2024. But on Tuesday, the Department of Education confirmed to the campaigners, including alumni, students and parents who wrote to more than 100 MPs, that funding for the centres had been secured for another 12 months. Clare Connor, chief executive of The Place and London Contemporary Dance School, said: 'We are pleased to see government have listened … we will build on this good news and work to secure the long-term future of the programme. 'This is an encouraging step in the government's commitment to safeguarding the pathways to careers in dance, and a positive signal of the recognition of dance's contribution to our thriving and growing creative sector.' Brendan Keaney, the artistic director and chief executive of DanceEast in Ipswich, said the decision to scrap the outreach funding was a 'retrograde step' that could have reversed the progress made in the last 20 years to make access to dance easier for people from ethnic minority and working-class backgrounds. 'The outreach funding was our search vehicle. It was the route into the programme – a first step into the pathway towards a career in dance,' he said. 'The National Dance CATs are sort of like little beacons across the country, where you can get high-quality specialist dance training without having to go off to a residential school. You can go to a regular school, but also get the kind of intensive training that is absolutely essential if you're going to compete as professional dancer.' Dame Arlene Phillips, said: 'Every child should have the right to pursue the arts and dance and the opportunity to reach their potential, regardless of their background or where they live.' Sir Matthew Bourne called the National Dance CATs the 'envy of international dance companies' and said without them we could enter 'a world with no more Billy – or Betty – Elliots.' The centres were introduced by the last Labour government in 2004 in an attempt to make dance more equitable. Manchester, Salford, Leeds, Newcastle upon Tyne, Swindon, Ipswich, London, Bournemouth and Exeter all host the centres that have produced dancers who have gone on to work with Wayne McGregor, Akram Khan Dance Company, BalletBoyz, Northern Ballet and Matthew Bourne's New Adventures. Earlier this year the Guardian reported that artists, directors and actors had raised the alarm about what they described as a rigged system preventing working-class talent thriving in their industries. There had been speculation before the spending review that more funding could be cut at the Department for Culture, Media and Sport (DCMS) and even some suggestions DCMS itself could have been abolished – although this was dismissed as 'madness' by culture minister Chris Bryant. The Department for Education has been contacted for comment.
