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Hindustan Times
06-05-2025
- Entertainment
- Hindustan Times
Top 8 nude lip glosses inspired by the glamour of the Met Gala; Our picks for you
The 2025 Met Gala, that showcased on first Monday of May, marked the biggest fashion night of the year. Along with dozens of fashion looks to fall for, the Met Gala event gave us some major beauty goals as well (and we can't keep calm). From Doechii's dapper monochrome look to Doja Cat's pastel eyeshadows, and Lupita Nyong'os bedazzled eyebrows, Met Gala event was one of its kind of beauty parade. Nude lip glosses for women But if there is one makeup trend that ruled the Met Gala event, it is nude lip glosses! From Zendaya to Gigi Hadid, Coco Jones, Sydney Sweeney, and Simone Biles, their lip makeup was all about flaunting a nude look. So, while, the internet is already stormed by nude lip glosses, we thought of listing down our top 8 nude lip glosses for you. Loading Suggestions... Loading Suggestions... Ready to crush it? Meet the Bobbi Brown Crushed Oil-Infused Liquid Lip Gloss in New Romantic, a dreamy blend of high-shine gloss and nourishing oils. Just one swipe is enough to give your lips a hydrating touch of botanical oils, leaving your lips irresistibly smooth, soft, and selfie-ready. Specifications Shade Name: New Romantic Volume: 6 ml Texture: Oil-infused high-shine liquid gloss Finish: Glossy, smooth, non-sticky Key Ingredients: Botanical oils Benefits: Nourishes lips, provides instant hydration, rich pigment Usage: Can be worn alone or layered over lipstick Suitable For: All skin tones and lip types Brand: Bobbi Brown Click Here to Buy Loading Suggestions... Want the glow of a Parisian morning café moment? LAURA MERCIER Lip Glacé in Vanille 15 is your best bet. This creamy gloss offers sheer coverage, a glassy finish, and zero stickiness. It gives you a daily dose of shine with a whisper of elegance. Infused with soothing Primrose Oil, this lip gloss glides on like silk and pampers your pout with moisture-rich nourishment. Specifications Shade Name: Vanille 15 Volume: 4.4 ml Texture: Creamy gloss Finish: High-gloss with a subtle tint Key Ingredients: Primrose Oil Benefits: Hydrating, smooth finish, non-sticky formula Usage: Perfect for day wear or a glossy topper Suitable For: Dry to normal lips Click Here to Buy Loading Suggestions... Turn up the shine with M.A.C Lipglass in the iconic shade Spice 315. Designed to drench your lips in long-lasting lustre, this gloss is enriched with Jojoba Oil for supple, soft lips that look as good as they feel. Wear it alone or layer it with a lipstick for a luscious mirror-like finish. Specifications Shade Name: Spice 315 Volume: 3.1 ml Texture: Thick and luxurious Finish: Glossy with intense shine Key Ingredients: Jojoba Oil Benefits: Long-lasting, moisturizes, versatile use Usage: Wear solo or over lipstick Suitable For: All lip types Click Here to Buy Loading Suggestions... Imagine pillow-plush lips with a radiant, reflective glow! Say hello to Huda Beauty Faux Filler Extra Shine Lip Gloss, your new go-to for max hydration and zero stickiness, all while feeling featherlight and fresh. Designed to mimic a lip filler effect, this gloss plumps your pout without the needle. Specifications Volume: Approx. 3–4 ml (check packaging) Texture: Lightweight, gel-like Finish: Ultra-shine with a plumping effect Suitable For: Gloss lovers and shine seekers Key Features: Hydrating, non-sticky, filler effect Benefits: Fuller-looking lips, smooth finish Usage: Apply to bare lips or over lipstick Click Here to Buy Loading Suggestions... Say goodbye to chemical-heavy glosses and hello to guilt-free glow. For lovers of nature and nurture, the Soultree Ayurvedic Lip Gloss in Nude Pink is where tradition meets trend. This plant-powered formula brings together Ayurvedic botanicals and natural oils to give your lips a hint of colour. Specifications Volume: Approx. 4–5 ml Texture: Light, herbal-infused Finish: Subtle shine Key Ingredients: Ayurvedic herbs, natural oils Benefits: Nourishing, clean beauty, paraben-free Usage: Ideal for everyday wear Suitable For: Sensitive lips and eco-conscious users Click Here to Buy Loading Suggestions... Get playful with the Victoria's Secret Flavored Lip Gloss in Honey Shine. Sweet, glossy, and irresistibly fun, this gloss delivers a delicious burst of flavour while keeping your lips glowing and kissably soft. Whether it's for a flirty day out or a mood-lifting moment, this gloss brings the glam with every swipe. Specifications Shade Name: Honey Shine Volume: Approx. 4–5 ml Texture: Smooth and lightweight Finish: High shine with flavour Key Features: Flavoured, shiny, fun-to-wear Benefits: Softens lips, adds a sweet sheen Usage: On-the-go application Suitable For: Flavour gloss fans Click Here to Buy Loading Suggestions... Feel the luxe touch of nature with KIRO Glossfinity Crème Lip Gloss, infused with Murumuru Butter for an ultra-smooth finish. This gloss does it all—hydrates, adds shine, and gives your pout a creamy touch of colour. Say goodbye to dryness and hello to glossy comfort, all wrapped in a conscious, cruelty-free formula. Specifications Volume: Approx. 3.5–4.5 ml Texture: Creamy, rich Finish: Glossy with colour tint Key Ingredients: Murumuru Butter Benefits: Hydrating, smooth finish, clean formula Usage: Use solo or with liner Suitable For: Dry lips, daily use Click Here to Buy Loading Suggestions... Turn heads and catch hearts with Revlon Super Lustrous The Lip Gloss in Rosy Future. Designed for the modern gloss lover, this formula glides on like silk and shines like glass. Expect rich pigment, radiant moisture, and a kiss of comfort—all in one swipe. Specifications Shade Name: Rosy Future Volume: 3.8 ml Texture: Lightweight Finish: Glossy with medium colour payoff Key Ingredients: Vitamin E, moisturizing oils Benefits: Comfort, shine, hydration Usage: Layer or wear solo Suitable For: Everyday glam Click Here to Buy Few more nude lip glosses on Amazon Loading Suggestions... Loading Suggestions... Loading Suggestions... Similar articles for you: Huda Beauty makeup kit: From matte to metallic-lipsticks, foundations, and more to ace the glam look Non-sticky lip gloss for summer: Say goodbye to stickiness and keep your lips hydrated; Top 8 picks Best Lip Glosses for women: 8 Top picks for shine and hydration; Perfect to dazzle you up FAQ for nude lip gloss What is nude lip gloss? Nude lip gloss is a lip product that enhances your natural lip color with subtle tones like beige, pink, brown, or peach. It's designed to give a natural, polished look with a glossy finish. How do I choose the right shade of nude lip gloss for my skin tone? Fair Skin: Go for soft pinks or peachy nudes. Medium Skin: Warm beiges, caramel tones, or rosy nudes work best. Deep Skin: Rich cocoa, mocha, or deep rose tones complement beautifully. Test shades on your lips or wrist to find your perfect match! Can I wear nude lip gloss without lipstick or liner? Absolutely! Nude glosses are versatile and look great alone for a fresh, minimal look. For more definition, pair with a nude lip liner or layer over lipstick. Is nude lip gloss suitable for all occasions? Yes! Nude gloss is a go-to for everyday wear, office looks, and even special events when paired with bold eye makeup or bronzed skin. Can I make my lips look fuller with nude lip gloss? Yes! Choose a gloss with a plumping effect or add a touch of shimmer to the center of your lips for a fuller appearance. Gloss in general reflects light, enhancing volume naturally. Disclaimer: At Hindustan Times, we help you stay up-to-date with the latest trends and products. Hindustan Times has an affiliate partnership, so we may get a part of the revenue when you make a purchase. We shall not be liable for any claim under applicable laws, including but not limited to the Consumer Protection Act, 2019, with respect to the products. The products listed in this article are in no particular order of priority.
The Guardian
09-03-2025
- Entertainment
- The Guardian
Flamboyance, creativity, club culture – and no smart phones: why the 1980s are all the rage again
In the future everyone will blame the eighties for all societal ills, in the same way that people have previously blamed the sixties,' Peter York, the quintessential observer of 1980s' style and cultural trends, said recently. He was referring to what he called the 'big bangs' of monetarism, deregulation and libertarianism which 'have been working their way through the culture ever since'. Curiously, he did not mention one of the eighties' equally enduring, but more positive 'big bangs' – the 'style culture', which began in that much-maligned decade and continues to echo through contemporary culture in an altogether less malign way. It is currently being celebrated in three exhibitions across London. At the National Portrait Gallery, the walls of several rooms are filled floor to ceiling with bright, glossy images from the Face magazine, which its press release describes as 'a trailblazing youth culture and style magazine that has shaped the creative and cultural landscape in Britain and beyond'. The show features the work of more than 80 photographers, some of whom, like Juergen Teller and David Sims, have since become globally famous. Likewise, some of their fresh-faced subjects, who include a teenage Kate Moss, a sassy Neneh Cherry, and the mischievous fashion designer Jean Paul Gaultier. Across the river at Tate Modern, another related exhibition, Leigh Bowery!, celebrates the life and times of the most outrageous figure to emerge out of the intertwined world of eighties' fashion and club culture, his self-created, larger-than-life costumes perhaps the most extreme manifestation of the decade's succession elaborately expressed tribal subcultures. Alongside these two eighties-themed blockbusters, another smaller but equally intriguing show, Outlaws: Fashion Renegades of 80s London, at the Fashion and Textile Museum in Bermondsey, ends on Sunday. This is particularly bad timing as it is a deep dive into the ground-level explosion of DIY creativity that underpins both of the bigger exhibitions and which helped define what as then known as the style decade. It features an array of maverick independent designers and stylists such as Christopher Nemeth, Judy Blame and fashion label BodyMap as well as early creations by more established names such as the now globally successful John Galliano. The eighties' reappraisal will continue apace in September, when London's Design Museum hosts an exhibition entitled Blitz: the club that shaped the eighties, which pays homage to the venue hosted by self-styled New Romantic scenesters Steve Strange and Rusty Egan, where, as their website somewhat extravagantly claims, '1980s style began'. The convergence of these eighties'-themed exhibitions has prompted an outburst of collective nostalgia among the generation that came of age back then alongside an attendant buzz of envious curiosity among today's style-conscious young. The latter are turning out in force to explore the vibrant word-of-mouth cultural interconnectivity of a time before smartphones and social media that must seem almost unimaginable to them. Given that the eighties are as far removed from the present moment as the forties were from that time, the question all of these shows beg, though, is: why now? One possible answer is provided by author and curator Ekow Eshun, who began his career as a writer for the Face. 'The magazine to a degree defined the last pre-digital period,' he says, 'It is a period that is frozen in time almost exclusively in still images and words, that is both outside our current moment, but somehow tantalisingly close, not least because it still echoes through our contemporary popular culture. One of the things the exhibition highlights is the way in which the magazine celebrated, and indeed normalised, notions of fluidity and identity that now seem utterly contemporary. On its pages, the boundaries that held sway for so long were being redefined.' The Face was founded by Nick Logan, a visionary magazine editor who had reimagined the music paper NME in the early 1970s, and then created the successful pop magazine Smash Hits in 1978. Launched in 1980, its trajectory over the decade echoed, and to a degree propelled, a wider cultural shift in pop cultural taste exemplified by the birth of club culture, the attendant rise of a generation of fiercely independent fashion designers and aspirational consumers eager to learn more about style, design, what to wear and which clubs to go to. When I started working for the Face for a brief time in the early nineties, it had established itself as an arbiter of all things pop cultural. I wrote features on Bristolian trip-hop, the enigma that was Sinéad O'Connor, the surreal humour of Vic Reeves and Bob Mortimer and the second coming of U2, who had suddenly ditched sincerity for irony via the McLuhanesque sensory overload of their Zoo TV tour. I remember being taken aback the first time I visited the Face office in the Old Laundry in Marylebone and found that the full-time staff seemed to consist of about half a dozen people, all of whom worked late into the night as the monthly production deadline loomed. (That changed soon after when it moved to a bigger office in Farringdon.) Unlike the NME, where I had previously worked, it was a magazine in which the art director seemed as important as the editor, and the photographers even more so than the writers. In this brave new world, stylists, too, came to the fore, trailing bags of clothes to elaborately-themed shoots. Logan hovered over the magazine like a guiding spirit: quiet, unassuming, and with an instinctive talent for recognising and nurturing new talent that seemed to have been passed one to everyone else on the editorial team, including art directors like Neville Brody and Phil Bicker. What is more apparent, in hindsight, is the way the DIY ethos that fuelled punk in the late 1970s had been carried over into the eighties in unexpected ways. It fuelled not just the ascendancy of the Face, but the emergence of a generation of maverick fashion designers, whose wildly inventive creations often adhered to a process that the post-modern continental theorists of the time called bricolage – the creative repurposing of what was at hand. 'It was a time before the tyranny of brands and sportswear,' says Martin Green, writer and curator of the Outlaws exhibition. 'People were deconstructing and repurposing outfits, using whatever they could, from safety pins to swathes of cloth bought from fabric shops in Soho that were cut up, put together again and maybe handpainted. I think of incredibly creative talents like Judy Blame as the fashion equivalent of mudlarks. They were creating wild outfits out of what was affordable and available, from Turkish rugs to tea towels and even beer mats.' The exhibition is an illuminating glimpse of a creative community driven by creative iconoclasm and experimentation rather than careerism and profit, which is perhaps why today's young find these eighties' retrospectives so intriguing. Both Green and the Sabina Jaskot-Gill, senior curator of photography at the National Portrait Gallery and curator of the Face exhibition, point out that much of the ground-level creativity paradoxically came about through a lack of money and resources. 'What struck me while researching the Face show and speaking to the people involved, from art directors to photographers, was that it was all done on such a shoestring,' says Jaskot-Gill. 'Hardly anyone was getting paid in the beginning so it was a bit like the wild west. In that sense, it has definite parallels with the present time, though at least there was some government funding back then to enable people to create.' One such project was the Youth Employment Training Scheme, which was introduced in 1981 to provide basic training and work experience to under-18s. 'The photographer Glen Luchford told me that when he started work at the Face, almost everyone there had come through that scheme,' says Jaskot-Gill. Today, though, the young and creative are at the mercy of an even more brutal neoliberal economic environment, one that ironically has its ideological beginnings in the Thatcherite eighties. Prohibitive tuition fees, high rents and low-paid jobs have inevitably had a negative impact on the once meritocratic worlds of art, fashion and magazine publishing, which is now out of reach to many aspiring young talents from working-class backgrounds. 'I was grateful to work at the Face,' says Eshun, 'For a start, no one ever asked you what school you had attended. Its values were not based on the traditional class-based hierarchies. Instead, it gave space to people from working-class and ethnically diverse backgrounds to flourish, but also to establish a new ways of thinking and speaking about style and design. It was a relatively small scene, but its impact was large and still ripples through today's culture.' While that is undoubtedly the case, Green, a keen observer of pop cultural currents, past and present, detects a more profound shift in the way that the past haunts the present. 'To a degree, young people have always been interested in the styles and fashion of past generations,' he says. 'In the eighties, cool rockabilly kids based their style on the fifties. In the sixties, the Biba label drew on twenties' styles. Today, though, the young people who have come to see the Outlaws show tend to look back longingly at the time itself rather than the styles. They see opportunities that they don't have in today's corporate-driven world – college grants, communal squats, the chance to be creative for the sake of it. 'There seems to be a hunger for that time, and the sense of unlimited creative possibility it offered.'
Euronews
22-02-2025
- Entertainment
- Euronews
King of Clubs: Leigh Bowery exhibitions Shine A Light On Creativity That Thrives After Dark
Forty years ago in London, the flamboyant New Romantics subculture was coming to an end and the rave scene had yet to begin, but one underground club was about to become bolder and louder. At Leigh Bowery's club, Taboo, Hi-NRG dance music throbbed from the speakers, polysexual identities were celebrated, and outrageous, colourful, sculptural fashion was on display in every direction. Bowery's work as a performance artist, fashion designer and nightclub promoter is back in the spotlight thanks to two exhibitions in the city he came to call home. 'Leigh Bowery!' opens at the Tate Modern on 27 February, celebrating a 'dynamic creative world that blurred the lines between art and life', while the Fashion & Textile Museum is hosting 'Outlaws: Fashion Renegades of 80s London' until 9 March, which examines the world around Taboo. Bowery grew up in a quiet suburb near Melbourne, Australia and moved to London aged 19 desperate to be a part of the New Romantic movement where people like Boy George, Princess Julia and Steve Strange fused glam rock with 18th and 19th century romantic fashion. He quickly immersed himself in the nightlife scene frequented by Central Saint Martins art school students and emerging musicians, artists and designers. Many of these infamous club nights didn't last very long. Their makeshift energy was as easily disassembled as it was haphazardly thrown together and the New Romantic wave had reached its peak. Bowery saw a gap for a new nightclub, one that would push the Club Scene to new extremes and opened Taboo in Covent Garden in 1985. It arguably became the most influential nightclub in British culture. NJ Stevenson, co-curator of 'Outlaws: Fashion Renegades of 80s London', explains why Bowery has such a notable legacy among the many names that emerged at this time: 'He was the biggest. He was not just the biggest in stature. He was the biggest in energy, the biggest in character, the biggest in ideas. He was the person who drove everything for a moment. And it was just a moment, but it was a really important moment in club history, and that's why he's remembered.' Martin Green, who co-curated the exhibition with Stevenson, agrees: 'He became the king of the scene, but he set out to do it.' This boom in the UK creative scene was made possible by squatting culture, so artists could live cheaply, and government grants that supported more people into college, including on art courses, and with entrepreneurship funds. However, it was also in response to an era of hardship for many young people, explains Jess Baxter, assistant curator of 'Leigh Bowery!' at the Tate Modern: 'The 1980s in Britain was a time of mass unemployment, increasingly conservative values, and rising homophobia further incited by the AIDS epidemic. Consequently, people were looking for more and more creative ways to express themselves, escape from everyday life, have sex and be queer with whoever they wanted to be with – more often than not, on the dancefloor, in pubs, clubs and gay bars.' Bowery turned himself into a walking piece of art: painting his face, exposing and covering his skin in unusual ways and draping himself in outlandish garbs. To be on the guestlist for Taboo, you had to show your devotion to experimenting wildly with identity and expression. 'The way he used his body, skin, gestures, his very personality was a kind of living painting and sculpture that pushed costume beyond 'fashion' to something truly experimental and outrageous,' says Baxter. Bowery's body of work often engaged in shock factors from the amount of sex and drugs freely available at his nightclubs, to bodily fluids used in his art. Ironically, nothing was taboo. Though Taboo closed only a year later, Bowery had made a name for himself. He went on to design costumes for dancer and choreographer Michael Clark, put on performance art exhibitions (most notoriously his show in which he 'birthed' his creative collaborator Nicola Bateman), posed for artist Lucian Freud and formed the band Minty. In 1994, at the age of just 33, Bowery died of an AIDS-related illness. A young Lee McQueen was present at Bowery's final performance before his death, just one of the famous names his work inspired. 'Bowery's work provides a form of inspiration for many artists to create art on their own terms, such as Sin Wai Kin, Jeffrey Gibson, Prem Sahib to name just a few. Outside of the global art scene, his influence is particularly alive in the work of Alexander McQueen,' says Baxter. Lady Gaga, John Galliano and the Scissor Sisters have all cited Bowery as a source of inspiration. More than 30 years since his death, Baxter believes his legacy is as prevalent amongst the creative sphere today: 'Now more than ever are we seeing Leigh Bowery's influence – from major fashion houses like Rick Owens and Charles Jeffrey LOVERBOY, to body-distorting alternative drag, to queer nightlife around the globe,' she says. Green and Stevenson say that the exhibition at the Fashion & Textile Museum has been hugely popular with students and young people who feel an affinity with this period in London's history. 'When lockdown eased up, I saw a lot of young people really dressing up, because they'd been indoors for quite a long time, maybe finding things on eBay or whatever, and really dressing up again. A lot of people really dress up to come to the exhibition,' says Green. It also comes at a time when the nightlife industry in the UK is facing a steep decline, with the number of nightclubs plummeting to 787 in 2024, compared with 1,700 in 2013. LGBTQ+ venues are particularly at risk of closure and these exhibitions are inspiring young people to take things into their own hands. Stevenson says: 'There has been lots of conversations about venues having to close and struggling post-COVID because areas are being developed and people can't afford the rents anymore. But having said that, there is still that kind of way of [young people] wanting to do things for themselves and setting up in really inexpensive spaces under railway arches, or slightly derelict spaces, which is exactly the same way that it used to happen. So, I think that story is really quite prevalent. This exhibition has really been picked up by young people. They're completely fascinated with this story.' Bowery's legacy serves as a reminder that nightlife is worth protecting. It can be more than just a way to pass the weekend, but the places where we're most free to be our true selves, to rebel against societal confines and nurture the communities that shape our culture.
