After setting the The Rolling Stones Girl I’m Not Old I’m Vintage Signautures Thank You For The Memories Shirt moreover I will buy this edge glue, applying vinyl tape, and putting on another wig cap, Smalls brushes up her brows and applies Anastasia Beverly Hills Dipbrow Pomade before carving and framing them with a duet of concealers to striking effect. A bevy of painstakingly selected concealers and foundations are artfully applied into different areas of Smalls’s complexion, layered in learned and perfected patterns and baking in phases for an immaculately blended look. “I’m all about a complexion moment with drag,” says Smalls while expertly highlighting, contouring, bronzing, and blushing. “I wasn’t always that way, but I like dimension. I like depth. And I like working from lighter to darker.” Another turn to the brow (“You will not catch me wearing makeup either in drag or out of drag without the Glossier Boy Brow,” Smalls says) is followed by swirls of eye shadow, liquid liner, and faux lashes, those further integrated with a pull of liner at their base. Ample mascara (on top and bottom lashes) demand balance in a high-impact lip moment which is achieved with an ombré MAC Lip Pencil in Chestnut, Sephora Cream Lip Stain Liquid Lipstick in Pretty Auburn, Nars Lipstick in Raw Seduction, and clear and tinted lip glosses.
The Rolling Stones Girl I’m Not Old I’m Vintage Signautures Thank You For The Memories Shirt, hoodie, tank top, sweater and long sleeve t-shirt
If we can accept that clothing should not be disposable, maybe we can also come around to the The Rolling Stones Girl I’m Not Old I’m Vintage Signautures Thank You For The Memories Shirt moreover I will buy this idea that concepts and narratives can be revisited. That’s just what Sandra Sandor has done for fall. Having introduced the timely theme of Surrealism for pre-fall, she effectively buids on it this season. True to her minimalist leanings, Sandor relegates the most direct Surrealist references to the collection film, and is more subtle about incorporating them into the clothes. The pleated “wing” flying from the center back of a men’s jacket, for example, is removable. A dramatic top and belt, both with rope fringe to the floor, are effective show pieces; a fringed scarf translates the idea for the real world.