A Thought for the New Year

This has been a particularly eventful year for me. My parents moved from being a 10-minute walk from my house to more than halfway across the country. I left an old job and started a new company. This blog went from 40,000 readers a day to more than 120,000 reader per day. I rediscovered old friends and learnt ugly truths about some new ones. My husband and I finally finished the restoration of the first room of our century-year-old bungalow. We fought and made up… a million times. I went and stayed at my brother’s house in Singapore for the first time and learnt what a wonderful thing it is when siblings get all grown up. My mother had a heart attack – at 62-years-old, this was beyond unexpected. But in the process of her treatment and healing, we spent time together as a family in ways we haven’t done for years now. Sweet with the bitter, happiness with fortitude and smiles that came along with their own set of tears… it’s sometimes impossible to believe one year can encapsulate so much. So many moments, so many memories. Now it’s time to see what 2013 will bring!

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I also love these words on the New Year from one of my favourite authors, Jennifer Weiner: ”I’ve learned a lot this year… I learned that things don’t always turn our the way you planned or the way you think they should. And I’ve learned that there are things that go wrong that don’t always get fixed or get put back together the way they were before. I’ve learned that some broken things stay broken, and I’ve learned that you can get through bad times and keep looking for better ones, as long as you have people who love you.”

How has 2012 been for you? What’s your defining moment for the year that closes today? And what is it that you look forward to the most in 2013?


Dior: Belle of the Ball

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Full-skirted silk gowns rustling through extravagant French ballrooms, dramatic arrangements of heady flowers, symphony orchestras that dazzle and delight, the intoxication of a summer’s night, couples swaying on the dance floor till the first light of dawn… such was the world of Christian Dior. It was a world that he loved and lived with all his heart, creating fairytale romances with every touch of his lavish creations. Because, Dior knew one thing: “Now That Cinderella’s fairy godmother no longer exists, the couturier must be the magician.”

Thankfully for us modern-day damsels, the House of Dior continues to sprinkle the magic that turns ordinary women into enchanted princesses with the stroke of a gilded lipstick or the swipe of sparkly fairy powders. And it is this luxurious and timelessly celebratory spirit that plays muse to Grand Bal, Dior’s new makeup collection.

Grand Bal Make Up Palette, $85 – €65

The collection is anchored by the Grand Bal Make Up Palette for Glowing Eyes and Lips, which references those charming dance cards of Dior’s era. Hence, alongside the two eyeshadows and two lip colours, there is also a little “pen” that not only closes the palette by acting as a wedge but also contains a buttery soft black kohl eye liner. In short, everything that you need to look très chic all wrapped up in a gorgeous golden package.

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Dior Vernis, $26  €20

However, for me the stars of the collection are clearly these gorgeous, gorgeous nail polishes! Have you ever seen anything like these fabulous vintage-style bottles? And even though they are going to be outrageously inconvenient to slot in my makeup case, which is built for square silhouettes, I am going to buy every single one of them! Maybe even two of the Diva Diorific. Yup! I am that crazy!

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Diva Diorific

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Marylin Diorific

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Lady Diorific

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Diorling Diorific

False Eyelashes

And then there are these false lashes, which seem like sparkly Dior couture for the eyes. Adorned with glam gold (or more muted silver) Swarovski crystals, each set comes with lash glue for a strong hold throughout the evening.

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Grand Bal Rouge Diorific, $36 – €32

Velvety, long wearing, ultra-luxe vintage packaging – the four limited edition Grand Bal Rouge Diorific lipsticks are the ultimate accessory for a fashionable night out.

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The rest… 

Then there is the usual compliment of eye shadow palettes, lip glosses, highlighters and a shimmery gold waterproof eye liner, which complete the collection. I won’t go into much detail about these as they are pretty but not innovatively exceptional. Or maybe their brilliance is simply muted in relation to the rest of the Grand Bal products, which reach out and grab the spotlight in an instant. Time to start saving up for what is definitely the prettiest collection of this season. Don’t you think so?

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Addict Ultra Gloss, $28 – €28
Or Lame (top), Rouge Ceremony

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5 Couleurs Designer Eyeshadow Palette in Fairy Gold, $59 – €55

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5 Couleurs Designer Eyeshadow Palette in Night Golds, $59 – €55

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Diorshow Waterproof Liner in Gold, €23

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Diorskin Gold Powder in Gold Dust

Guerlain L’Heure Bleue. 1912 and 2012.

It was a lonely winter. Everything around me was changing. Every facet of being, every way of living, every manner of thinking. And I did what I normally do in the face of emotional turmoil – I ran, all the way to Rattvik, a tiny hamlet in Sweden, the country of my childhood. There, sitting in absolute silence on a pier that stretches half-a-mile into choppy waters, I was enveloped by the most bewitching “blue hour” – the lustrous sky turning every shade of blue, from chalky turquoise to cobalt as the rain began to fall. I took refuge in a little wooden shed perched at the edge of the pier and it was here, in this melancholic solitude, that I finally found peace. Days later, I was back home, getting married under a very different kind of evening sky – one that was “happy” with dusky pinks and golden oranges – but to me, the defining moment of my life was that abandoned pier in the Northern hemisphere, under whose twilight hour everything came together.

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The pier at Rattvik

A few months later, I was telling my story to a colleague at the French Marie Claire and she brought out a bevelled crystal bottle. It was Guerlain’s L’Heure Bleue and one whiff transported me back to that turbulent winter night. Cool and somber, this was not for Cinderella dancing in glittering shoes with the handsome prince. It was for Catherine as she waited for Heathcliff on the wild, wind-farmed moors, the rain lashing her face and freedom competing with passion. It spoke to my shadowy side: the one that leaves behind cozy winter fires to wander the frozen streets in an unknown city as the mind sorts out its deepest thoughts.

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Vintage advertisements for Guerlain’s L’Heure Bleue

And that’s what I like about this grand fragrance – the fact that it says it’s all right to be uncertain, to be vulnerable, to not know exactly where the journey will take you. Most perfumes are too determinedly – sometimes cloyingly – optimistic. The tales they tell are of confidence, conquest and becoming the centre of the ballroom. But sometimes, I just want to step aside and walk the unrestrained moors, enjoying the starry night and wondering what the future holds. To me, L’Heure Bleue is “quiet”, not sad – in an ephemeral world, it has the audacity to remind us that nothing is eternal.

Many of my friends find L’Heure to be melancholy. Invariably, these are women who love the daytime, the sun, the warmth. I, on the other hand, like the world best between dusk and dawn. Too many sunny days wear me out and strip life of romance. Twilight has been my favourite time of the day since I was a child… if only it lasted longer.

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And it is these fleeting moments of enchantment and mystery… the ‘witching hour between daylight and darkness when the doors of heaven open, magical events take place in forbidden forests and everyone looks a little more beautiful… that bewitched Jacques Guerlain a century back, as he walked along the Seine in Paris. ”I felt something so intense,” he said, “I could only express it in a perfume.” And that’s what he did: created a fragrance whose flickering, emotionally charged notes echo the Impressionists he so admired.

But that’s not the whole story: composed two years before the outbreak of World War I, L’Heure Bleue also brought home the sweetness of a romantic, pre-war Paris, before darkness descended upon the city. In fact, the French expression l’heure bleue refers to Paris immediately prior to the war, which brings me to the second aspect of this perfume – L’Heure Bleue is a story within a story within a story. Sweet, soft and spicy all at the same time, it maintains a beautifully fragile balance, just as the ‘blue hour’ holds together the waning of day’s hopes and the beginning of night’s ambiguity.

Despite the history of melancholy, it opens on a chord of bright notes – the sweetness of orange blossom, rose, violet and neroli offset by the spicy sharpness of carnation, bergamot and aniseed. But its not all light and softness – the flowers are awash with cool shadows and this is where the melancholy romance begins.

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The Seine in Paris during the ‘blue hour’

As it progresses, L’Heure Bleue moves effortlessly from florals to pastries, developing a musky balsamic plushness that’s replete with tonka beans and soft leather. It’s like strolling along the Seine, losing yourself to Paris, when an old world apothecary entices with a whiff of dusky candies and freshly baked almond croissants. You take a seat, indulge in the buttery vanilla flavours and then move on… the sun has dipped below the horizon, the bridges look ghostly in the twilight and the innocent tuberose has been replaced by a temptingly dangerous siren. It’s at this crossroad between the day and the night that you long to have someone by your side… someone to share the magic, someone to spend the night.

The centenary brings two editions, both highly limited

Today, echoes of L’Heure Bleue can be seen in several Guerlain creations like Insolence and Tonka Impériale. The coming month marks its 100th anniversary and it’s only fitting that Guerlain celebrates the centenary of this grand classic with a reinterpretation by Thierry Wasser. Under his leadership, the legendary scent is illuminated with freshness and modernity: the white musk mingles with iris, heliotrope blends with orange blossom to make it more marshmallow-like, and powdery accents hover over the gourmand notes like a veil. However, overall it’s still the same fragrance. And somehow, it all works. Again.

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Guerlain L’Heure Bleue 2012 limited edition coffret

First, there is a a box set featuring a bottle of the regular Parfum along with three new interpretations that symbolise morning, midday and midnight. In the morning, L’Aurore (the Eau de Toilette) is heavily loaded with top notes for freshness. At the stroke of noon, Le Zénith (Eau de Parfum) is made memorable with a confection of orange blossom, iris, vanilla and licorice. Finally, at dusk, Le Crépuscule (Extrait de Parfum) reveals the perfume’s soul and its disturbing secrets, transforming into a smoky-sweet gourmand, with the spicy, velvety flowers taking centrestage. The bottles (30 ml each) come in a blue velvet box decorated with silver pearl embroidery by Lesage Atelier de Broderie and the coffret is priced at 3000 €.

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Guerlain L’Heure Bleue 2012 limited edition

Want a more exquisite collectable? Look for the (490 ml) midnight blue crystal bottle that’s blown, cut, polished and engraved by the artisanal hands at Baccarat, then adorned with violets crafted from molten glass crystal ciselé in 24-carat gold by Gripoix. The effect is of an ornament that twinkles in the dark, showing off the perfumer’s muse: the sky during night-time. The price? 11000 € with the violets; 6500 € without them.

What about you? Have you ever used perfume to celebrate a special occasion or get through a difficult time? Which one would you choose?

Beauty Backstage: Chanel Couture Fall 2012

The setting

Just as I was lamenting the ultra-safe Fall 2012 makeup collection from Chanel, there comes this gorgeous, gorgeous couture catwalk show that knocks everything else right out of the park. The stunning environs of Paris’ Grand Palais, white wicker furniture, a trompe l’oeil ”tempest” ceiling mural, whitewashed Versailles pots “planted” with bushes of silk camellias, plates of miniature macaroons, a grand Art Nouveau staircase… all combined to evoke the atmosphere of an old-fashioned grand hotel. “I love the atmosphere of a Belle Époque tea room,” explained Karl Lagerfeld, “very Baden-Baden or Marienbad – but the difference is it was not last year!”

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Chanel’s Fall 2012 Couture show was held in the Salon d’Honneur, a space within Paris’ Grand Palais that has been closed for 70 years

The clothes

This witty reference to the 1961 film, Last Year at Marienbad, whose costumes were crafted by Coco Chanel herself, was Karl’s reiteration of the fact that he is living firmly in the present. There could be no better an introduction to the spirit of a collection that he dubbed “New Vintage”, reworking Chanel’s classics in a way that showcased the extraordinary handwork which the house’s ateliers are producing today.

What I look forward to every season is how Lagerfeld lifts out one single strand from Chanel’s history and uses it to weave an entire collection. For the Fall 2012 couture show, he took the glitter woven through Chanel’s tweed suits and worked it into everything from bias-cut jackets to sumptuous evening dresses. Except for one detail: The classic tweed was actually re-interpreted as embroidery on tulle. With the result that each of the pieces took hundreds and thousands of hours of handwork. Truly, this is couture in excelsis.

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For evening, the great designer wove together shreds of chiffon, tulle and laser-cut fabrics into a living tapestry of airy sheath dresses scattered with three-dimensional gardenias and chunky jackets that would be a great cover-up for glacial nights (thank God! At least one designer is acknowledging that winter is a real season, with cold winds and chilly showers!).

My personal favourite, however, were the full-sleeved, black velvet gypsy-tiered dresses that were inspired by a model that Chanel made for herself in the 1940s, during the wartime years when she closed down her house. However, Karl tweaked the proportions and details to give even this dark drama a modern spin. As he said: New Vintage.

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The makeup

Backstage, Creative Director of Makeup Peter Philips worked his magic, creating a smoky grey eye with soft cheeks and nude pink lips to complement the black, gray and dusty pink theme of Karl’s couture creations.

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Starting with a polished base (which he prepped with Chanel’s Hydra Beauty Serum, Vitalumiere Aqua Ultra-light Skin Perfecting Makeup, Eclat Lumiere Highlighter Face Pen, Correcteur Perfection Long Lasting Concealer and Poudre Universelle Libre Natural Finish Loose Powder), he applied Chanel Ombre Essentielle Soft-Touch Eyeshadow in Furtif ($28.50) all over the lid, taking it through the crease and lower lash line.

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Then, he created a thick line along the lash lines with Chanel Stylo Yeux Long Lasting Eyeliner in Noir Intense and added multiple layers of Chanel Inimitable Mascara in Black ($30) and Chanel Kohl Liner in Clair ($28) on the inner rims to open up the eyes.

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The cheeks were dusted with Chanel Joues Constraste Blush in Rose Initial (albeit “a bit higher than usual”; $43), a pretty rosy pink.

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The lips were kept simple and neutral with the Chanel Precision Lip Definer in Natural ($28), followed with a swipe of the Rouge Allure lipstick in Evanescente ($32.50).

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And those uber-gorgeous nails!

The pièce de résistance, however, was the bright pink french manicure. Philips took the idea of the classic French manicure and gave it a touch of “now”, in keeping with Lagerfeld’s “New Vintage”.

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To create the look, Philips applied a chrome nail polish that was discontinued in 2007 (Essie’s No Place Like Chrome is a good alternative) on the entire nail and topped it with two coats of Chanel Le Vernis Nail Colour in May (from the Spring 2012 makeup collection). The result? A skinny crescent of chrome encircling the pink that looks simply gorgeous! I will definitely be trying this out this look, so stay tuned.

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The makeup table

Les Essentiels de Chanel Fall 2012 Makeup Collection

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One of the high points in a Beauty Editor’s life is the thrill of seeing sleek, shiny and straight-off-the-runway bags of new season makeup goodies sitting on your desk when you walk into office. And personally for me, there is little that gladdens the heart more than the chic interlocked Cs of Chanel, stocked to overflowing with pretty colours and even prettier textures. However, while Peter Philips, the brand’s Global Creative Director for Makeup, has been making huge waves with his covetable nail polishes during the last few seasons, what I have really missed is Dominique Moncourtois‘ so-gorgeous-that-you-can’t-bear-to-use-them palettes – remember the Les 4 Camelias de Chanel or the Les Tentations Tweed Effect Blush? – that are still sitting in my showcase (note, showcase not dressing table – yes, they are that pretty).

Illuminating Powder

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Lumiere D’Artifices Beiges Illuminating Powder with Shimmer

So, it’s really exciting to see Philips go back to that glorious tradition, first with the archive-worthy Poudre Compacte in Route des Indes and now with the Lumiere D’Artifices Beiges Illuminating Powder with Shimmer, which is part of the just released Les Essentiels de Chanel Fall 2012 makeup collection. Though I wouldn’t exactly call it “new”, since Dominique did a very similar sequin-and-thread pattern with gold, silver and white eye shadows back in 2007 (Chanel Lumière d’Artifices Eyeshadow), the Lumiere D’Artifices is definitely going places with its interplay of light and dark beige shades, which blend to create a subtle iridescence that seems to extend the glow of sunny, summery days.

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Chanel Lumière d’Artifices Eyeshadow (2007)

Unfortunately, the shimmer in this illuminating powder is only an overspray, which wears off with just one swipe. The overall effect is pretty but I see it working more for cooler skin tones and still think that the Lumière d’Artifices was more stunning and definitely more collectable where pure gorgeousness is concerned.

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Swatches of the Lumiere D’Artifices Beiges Illuminating Powder with Shimmer

Nail Polishes

Now, what Philips does really, really well is nail polish and the Fall 2012 collection is sure to have another super-hit in the form of Vertigo ($27) – an almost black lacquer with an undertone of shimmery red particles that reveal themselves according to the light. It’s the shade that Jac is wearing in the campaign image and at first glance may seem quite similar to Paradoxal or Black Satin – two of Chanel’s earlier superstars. However, Paradoxal is more purple-ish while Black Satin is, well, just black (check this post by Sabrina from The Beauty Look Book for comparisons with similar colours). Of the other two hues, Frenzy is a milky greige (what’s with all the brands trying to reinvent greige again this season?), with a hint of lavender; while Suspicious is a bright fuchsia red.

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Eye Shadows

Then there is the Chanel Quadra Eye Shadow in Premier Regard ($62) – a beautifully neutral palette with shades of velvety beige, subtly shimmery taupe grey, soft pink and deep black. The shimmer is very subtle, so it’s very wearable all year round and not just for Fall’s party months. All four shades have different textures, ranging from shimmer, completely matte, matte with sparse shimmer to pearly. Plus, there is medium colour pigmentation with buildability, so chances of getting it wrong are pretty non-existent.

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The collection also has a range of single Soft Touch Eyeshadows ($34), which run the gamut from a sheer gold (Eclaire) to a matte black (Noir) – these might be a better bet for darker skin tones, who will find that the soft pink and beige don’t really show up much on their eyelids, making half of the Quadra palette redundant.

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Eye Liners

The Chanel Stylo Yeux Waterproof Long Lasting Eyeliner ($30) in Noir Intense is a darkly pigmented black that’s just soft enough to apply easily without tugging. With black eyeliners it’s a balancing act between the softness that gives greater pigmentation and a harder texture that makes it less prone to smudging – in Noir Intense, Chanel manages to find the perfect equation. However, it’s not a standout performer and I would much rather stick to MAC’s Eye Pencil in Engraved, which is my usual pick for the ultimate sooty black eyeliner. Instead, if I had to pick a liner from this collection, it would be Silver Light, which is a gorgeously shimmery limited edition.

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Blush

The Chanel Powder Blush in Rose Initial ($48) is rosy pink with super-subtle light-reflecting properties. In the pan, it looks bright pink, though on my skin I detected maybe a tiny hint of peach (maybe because of the fine shimmer that gives a glow to the skin). Like most of Chanel’s powder-based products, this one is also perfumed, which doesn’t bother me but might be an issue for someone with a sensitive nose. Texture-wise, this is a powder version, which I prefer to the baked compacts that sort of become too dry over time.

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Lip Colours

Amongst the lip colours, the anchor point is the Rouge Coco Shine lipstick in Chic ($39), which is a sheer beige sheen with fine gold shimmer, while the shimmery Glossimer Lip Gloss in Sweet Beige ($31) is a slightly sugary beige. Another standout is the Rouge Allure Extrait de Gloss ($32) in Troublant – a violet-plum brown shade with a high pigment load for more opaque shine. My favourite, however, is the Rouge Double Intensite Ultra Wear Lip Colour ($34) in Almandine, a red-plum that Jac is wearing in the campaign shoot.

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Rouge Coco Shine lipstick in Chic

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Glossimer Lip Gloss in Sweet Beige

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Rouge Allure Extrait de Gloss in Troublant

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Rouge Double Intensite Ultra Wear Lip Colour in Almandine

Final Thoughts

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The colours and textures are interesting though some of them seem to be rather too heavily inspired by the brand’s past bestsellers and there is an element of playing it safe that underlines all the products. Except for the nail polish in Vertigo and maybe the lip colour in Almandine, there doesn’t seem to be any standout shade for which you wouldn’t find a close enough match in another brand or even in Chanel’s own archives. C’mon Peter! Where are the equivalents of all those gorgeously experimental and thoroughly memorable jades and denims of seasons past????