by Anna Kunnecke
Dear Makeup Artists,
First, let me say that I know you are pros. You know this business inside and out; you create beauty for fashion shows, photo shoots, TV shows, and more. However there are a few details that I think might be useful for you to know when it comes to putting makeup on foreigners, we the pale-paced, we the big-nosed, we the gaijin.
First of all, the eyes. It might be a delicate topic, but there are some basic physical differences here that we need to talk about. Let us be brave and not flinch from facts. The eyelids, they are different. If you put bright blue eye-shadow along the lid of a Caucasian model, instead of sliding demurely out of sight the way it would on a proper Asian girl, it will instead remain in full view, blinding in its blueness. This will not in fact enhance any eyes that are already blue; it will, instead, make them look dull, as well as casting a jaundiced pall over the entire face. Moving on, the eyelid crease. Against all instinct, I must beg you to darken the crease rather than using white frosted stuff on it. The darker color will create those lovely emaciated skull-hollows that the fashion magazines are so fond of. In the same vein, if you put all the dark color down by the lashes, and then delicately blend up in one lovely seamless gradation all the way to the eyebrow, with the lightest colors on top, the upper lid will visually recede and the area under the brow will jump forward, giving your model puffy hangover eyes that appear to be swollen and uncomfortable. Finally, eyeliner. I am at a loss as to why you try to put it on the inner eyelid. This is a look that was often seen in sixth-grade bathrooms in the eighties. It really should not be seen anywhere else.
Second, let's move on to the contours of the face. You see, we have lots of them. More, I respectfully submit, than our Asian counterparts. In fact, when we speak, smile, and blink our eyes, these parts of our face move. This causes creases. I am in utter awe that this does not happen with Japanese actresses, but judging from the thick mask of foundation that seems to be the norm, I can only guess that their faces move not a whit. Also, when you pop in during takes and layer powder over those creases that happen next to eyes, between the nose and cheeks, and forehead, that will not, I am sorry to say, make them go away. No, in fact, it will simply increase the great hulking shadows that they cast. Might I suggest that you put that powder, instead, on the nose, cheeks, and forehead.
That brings me to our third topic, the concept of tomeikan, which I will loosely translate as transparency. It appears to be the ultimate virtue in Japanese makeup, but like many mysteries of Japanese culture, it is confusingly and selectively applied. This is why a model can find herself with inches of thick caked makeup around her eyes, where it will wrinkle and form crevices rivaling a desert canyon, while the bright red unfortunate blemish on her cheek is left completely uncovered to blink its bright red holiday message to the world. It is perhaps one of our greatest cultural differences that foreigners do not, in general, find this to be attractive. I know, it's very shocking.
Finally, let us move on to those famed noses. Shiny white pearlescent highlights are generally not appropriate here. Nor, I might add, are they useful on the chin. Generally these features are big enough already, and adding a layer of shine is pretty much exactly the opposite approach that is required.
In conclusion, it is also worth mentioning that Hana ga takai! (Your nose is so tall!) and Kao ga chiisai! (your face is so small!) are generally not considered compliments. I know that all of this is quite counterintuitive and goes quite against conventional industry wisdom, but I hope that you will take it in the spirit in which it is offered, which is one of mutual cooperation and edification. Oh, and if your model should have curly hair...well, that's a book unto itself.
Respectfully yours,
Anna
Dear Makeup Artists,
First, let me say that I know you are pros. You know this business inside and out; you create beauty for fashion shows, photo shoots, TV shows, and more. However there are a few details that I think might be useful for you to know when it comes to putting makeup on foreigners, we the pale-paced, we the big-nosed, we the gaijin.
First of all, the eyes. It might be a delicate topic, but there are some basic physical differences here that we need to talk about. Let us be brave and not flinch from facts. The eyelids, they are different. If you put bright blue eye-shadow along the lid of a Caucasian model, instead of sliding demurely out of sight the way it would on a proper Asian girl, it will instead remain in full view, blinding in its blueness. This will not in fact enhance any eyes that are already blue; it will, instead, make them look dull, as well as casting a jaundiced pall over the entire face. Moving on, the eyelid crease. Against all instinct, I must beg you to darken the crease rather than using white frosted stuff on it. The darker color will create those lovely emaciated skull-hollows that the fashion magazines are so fond of. In the same vein, if you put all the dark color down by the lashes, and then delicately blend up in one lovely seamless gradation all the way to the eyebrow, with the lightest colors on top, the upper lid will visually recede and the area under the brow will jump forward, giving your model puffy hangover eyes that appear to be swollen and uncomfortable. Finally, eyeliner. I am at a loss as to why you try to put it on the inner eyelid. This is a look that was often seen in sixth-grade bathrooms in the eighties. It really should not be seen anywhere else.
Second, let's move on to the contours of the face. You see, we have lots of them. More, I respectfully submit, than our Asian counterparts. In fact, when we speak, smile, and blink our eyes, these parts of our face move. This causes creases. I am in utter awe that this does not happen with Japanese actresses, but judging from the thick mask of foundation that seems to be the norm, I can only guess that their faces move not a whit. Also, when you pop in during takes and layer powder over those creases that happen next to eyes, between the nose and cheeks, and forehead, that will not, I am sorry to say, make them go away. No, in fact, it will simply increase the great hulking shadows that they cast. Might I suggest that you put that powder, instead, on the nose, cheeks, and forehead.
That brings me to our third topic, the concept of tomeikan, which I will loosely translate as transparency. It appears to be the ultimate virtue in Japanese makeup, but like many mysteries of Japanese culture, it is confusingly and selectively applied. This is why a model can find herself with inches of thick caked makeup around her eyes, where it will wrinkle and form crevices rivaling a desert canyon, while the bright red unfortunate blemish on her cheek is left completely uncovered to blink its bright red holiday message to the world. It is perhaps one of our greatest cultural differences that foreigners do not, in general, find this to be attractive. I know, it's very shocking.
Finally, let us move on to those famed noses. Shiny white pearlescent highlights are generally not appropriate here. Nor, I might add, are they useful on the chin. Generally these features are big enough already, and adding a layer of shine is pretty much exactly the opposite approach that is required.
In conclusion, it is also worth mentioning that Hana ga takai! (Your nose is so tall!) and Kao ga chiisai! (your face is so small!) are generally not considered compliments. I know that all of this is quite counterintuitive and goes quite against conventional industry wisdom, but I hope that you will take it in the spirit in which it is offered, which is one of mutual cooperation and edification. Oh, and if your model should have curly hair...well, that's a book unto itself.
Respectfully yours,
Anna
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