Estée Lauder Pure Color Quick-Thick Eyeliner

I know this post is a bit behind time – since the Estée Lauder Pure Color Quick-Thick Eyeliner in Punker Black was actually launched in November – but blame the delay on my pathological abhorrence of felt-tipped liners. Even though, practically speaking, these should be the go-to item for creating my favourite cat’s eye effect, most of them seem just too watery and are not pigmented enough to make a strong graphic statement, which is what the cat’s eye is all about. That’s why I have been ignoring the Estée Lauder Quick-Thick till now.

estee lauder quick thick

Then on Saturday night, I ran out of every single black liner and my only options were the Quick-Thick or a Sharpie, à la Taylor Swift. Which is when I discovered that the Quick-Thick is actually as much like a Sharpie as it’s possible for a non-Sharpie to be: quick, thick and instantly impacty. To begin with, it has a firm tip that doesn’t glide along your eyelid like a soft paint brush… instead, it literally draws like a firm black marker, which makes it perfect for creating bold, thick lines.

estee liner 2

But this doesn’t mean that the Estée Lauder Quick-Thick can’t be used for softer looks. It definitely can: you simply use the fine point of the tip. It can also be used for dotting between lashes to enhance the lash line. But it’s main strength is the ability to quickly and easily achieve that thicker, bolder graphic effect. The felt tip is not too “wet”, which is what I found with other felt liners. Consequently, the finish is opaque, glossy and retains its inky black shade without smudging or fading.

The size also matters. A lot. The shorter, stubbier body allows for more control and grip. . . which ultimately leads to steady lines and precise application, both of which are perfect for the season’s dramatically graphic eyes. If I were to improve on the formula, I would probably just want it to be waterproof. And serve it up in a few more colours. Estée Lauder, are you listening?


Aerin Garden Colour Collection Spring 2013

If you were blown away by the Aerin Lauder launch collection and Fall palettes, prepare to fall in love of the completely besotted kind with her Garden Colour Collection Spring 2013. Launching in the first week of February, this super-pretty range of makeup is not only gorgeous to look at but also very wearable – a rare combination. The British Beauty Blogger (one of my absolute favourite beauty blogs!) has dug out the first images of the launch and here they are!

Aerin Garden Color Collection Spring 2013

Aerin has always promised a well curated collection rather than one that has 80 mind boggling products, over half of which have no relevance to anybody. And in keeping with that aesthetic, the Garden Colour Collection (swatches coming soon) starts off with two Style Palettes, which come as zip-able compacts that are chic enough to be carried as mini-clutches for the evening.

Aerin Spring Style Palettes, £45 each

Then there are two Multi Color Compacts for Lips & Cheeks, which are really versatile and come packaged in the hammered golden case that’s become the signature of Aerin’s makeup collections.

Aerin Spring Multi Color for Lips & Cheeks, £22 each

The prettiest product of the collection, however, has to be the Floral Illuminating Powder. I am getting two of these – one to use, one to keep!

Aerin Spring Floral Illuminating Powder, £45

There is also a selection of lipsticks and lip glosses, which run the gamut from soft neutrals to vivid pinks. I can’t wait for this one to hit the shelves. Can you?

All images courtesy British Beauty Blogger.

Marni brings the fun back to fragrance

It’s a bit hard to get excited about a new fragrance nowadays but this peppy offering by Marni, the quirky Italian fashion label, seems bright and fun and exciting. And it’s a nice change from all the “grown up” perfumes that have been flooding the market lately. The flacon was inspired by an old bottle that Consuelo Castiglioni, Marni’s Creative Director, discovered in a flea market 20 years ago. It’s fashioned like one of Marni’s playful dresses, complete with the dots that are so much a part of the brand’s world. I especially want the purse spray, which comes with it’s own “Huggy” doll.

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But this project is no plaything: the actual juice is licensed with Aramis and the Designer Fragrances division at Estée Lauder. It’s a bold and modern blend of spicy and woody notes, underlined by a dark, intense rose oil. This is Marni’s first fragrance and Castiglioni describes it as being “for a woman who dresses for herself, who doesn’t follow trends but is sophisticated and also maybe a little eccentric.” So, if you can’t afford to wear some of Marni’s classic-yet-innovative prints, it will soon be possible to smell like you can.

Price: US$105 for 65 ml EDP, US$155 for 120 ml EDP, US$50 for the purse spray

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Estee Lauder Violet Underground Eyeshadow Palette

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I am not much of an eyeshadow palette kind of person because almost all have at least a shade or two that’s pretty unwearable. And really, how many times do we wear all the 4-5 shades together in one ‘look’? So, in short, a palette has to be really exceptional to rock my boat. And Estee Lauder’s brand new Violet Underground Eyeshadow Palette definitely is exceptional and then some.

This palette is definitely THE stand out piece from the brand’s Violet Underground Collection for Fall 2012 (though I am also loving the Pure Color Velvet Lipstick in Black Cassis and the Pure Color Gloss in Chaotic Currant; swatches coming up soon). The five shades range from deep violet to salmony pink – all with a very subtle metallic sheen. The formula is based on the same ‘tribrid’ technology we first saw in the brand’s Illuminating Powder Gelee, which means that you can wear the eyeshadows either wet for a vibrant chrome finish or dry for a more subtle look.

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All colours swatched dry

And though there is a definite punk rock vibe going on here, none of the colours fall into the scary, cannot-be-used-by-mortal-beings category. Even the dramatic fuchsia pink wears much softer and sheerer than it looks in the pan, when you use it dry. It’s much more intense when applied wet but personally, I don’t think that would figure much in my makeup plans at any time in the near future.

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Closeup of the fuchsia-pink and chocolate bronze shades

My favourite though is the eponymous violet – a rich, vibrant, blue-touched purple that intensifies my dark brown eyes. It has excellent pigmentation and a strong metallic finish that shows up in both wet and dry versions. I also love the chocolate bronze with its metallic sheen and reddish undertones. When used dry, it is pretty opaque but has less depth; when applied damp, it takes on a much more intense, deep look that leans more to bronze than brown.

The lightest shade is a salmony champagne with soft, warm undertones and a frosted finish, which makes for great all-over eye shimmer or a standout highlight. It becomes slightly more metallic when used wet but the pigmentation is full and opaque even when worn dry. The final shade is a dark black with green tones and a very, very subtle shimmer. It has good colour payoff when used dry but packs a much more powerful pigment punch when applied wet – perfect for lining the eyes.

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Black swatched wet

All five shades work well together, not just in one colour combination but multiple ones. And you can go both ways: create a fairly neutral look appropriate for work with the two more neutral shades (beige and bronze) or accent them with the richer shades (pink and violet) for a bold nighttime look. The black, as I said earlier, can be used to line the eyes. Or, if you want to add more drama, use it in the middle of the eyelid to bring depth.

The ‘shadows apply beautifully, whether used dry or wet. When wet, they feel almost creamy, while even the dry texture is very different from the normal talc/mica based formulations. Wearability is almost 8 hours, even without primer. If only they had better applicators. The standard dual-ended ones don’t do justice to the colours and textures, so you would be definitely better off using a separate eyeshadow brush.

Price: US$48 / €53 / £40 / Rs. 3,493

Why is breast cancer ‘pink’?

This month, the world glows pink with the “light of hope” that was first lit by Evelyn Lauder 12 years ago. New national and international landmarks such as Mumbai’s Bandra-Worli Sea Link and Dubai’s Burj al Arab join established stalwarts like New York’s Empire State Building and Belgium’s Amsterdam Bridge to remind women about the need for annual breast cancer checkups, thereby saving millions of lives across the globe.

But why pink? And while we are at it, why is breast cancer denoted by a ribbon? Rather than, say, a white flag? Where did the pink ribbon come from, where is it going and what has it meant along the way?

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Mumbai’s Bandra-Worli Sea Link joins Estee Lauder’s Breast Cancer Awareness Campaign

It began with yellow oak trees

Back in the 19th century, when the US Cavalry Soldiers traditionally wore a yellow scarf around their neck, one would see whole villages of women tying yellow ribbons in their hair to signify their devotion to a sweetheart away at war. There was even a traditional folk song that went ‘Round Her Neck She Wears a Yeller Ribbon, which later inspired the John Wayne movie She Wore a Yellow Ribbon.

Around her hair she wore a yellow ribbon
She wore it in the springtime
In the merry month of May
And if you ask her why the heck she wore it
She wore it for her soldier who was far far away
 

Nobody knows the exact origins of these words but they have existed in various versions for almost 400 years now – reaching their zenith in 1973′s Tie a Yellow Ribbon Round the Old Oak Tree by Irwin Levine and L. Russell Brown, written at the end of the Vietnam War.

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Penne and Bruce Laingen with the yellow ribbon Mrs. Laingen tied around the oak tree in her front yard in 1979

Then came 1979, the year that Penney Laingen, wife of a hostage in Iran, was inspired by the song to tie yellow ribbons around trees in her front yard. Millions of yellow ribbons sprouted up across the country in solidarity. For the first time, ribbon became medium, ribbon became message. That was step one.

Then came red

The second major step was taken 11 years later, when AIDS activists looked at the yellow ribbons that dotted the landscape for soldiers fighting the Gulf War and said, “What about something for our boys dying here at home?” So, the ribbon became bright red — “because it’s the colour of passion” — and was sent on the Tony awards stage, prominently pinned to the chest of actor Jeremy Irons.

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Ribbons had arrived. Almost overnight, every charitable cause had to have one. In fact, they quickly became so ubiquitous that The New York Times declared 1992 “The Year of the Ribbon”.

The stage was set for the breast cancer ribbon.

How pink got into the cancer business

The very first breast cancer ribbon was actually not pink. It was peach. And it was the brainchild of a 68-year-old Charlotte Haley, the granddaughter, sister and mother of women who had battled breast cancer (the disease is often genetic). These peach-coloured loops were handmade in her dining room and handed out along with a card asking women to campaign for higher funding towards breast cancer prevention. In the meantime, the Susan G. Komen Breast Cancer Foundation had been handing out bright pink visors to breast cancer survivors running in its Race for the Cure since 1990. These were, however, just mere stepping stones. To really reach its true potential, there had to be a unanimous symbol for breast cancer worldwide and then there needed to be a situation in which this symbol was the event.

breast cancer, pink ribbon, think pink, lit up in pink, Estee Lauder, Evelyn Lauder, global illuminationThe situation came soon enough.  In 1992, Alexandra Penney, Editor-in-Chief of Self, had an inspiration while designing the magazine’s annual Breast Cancer Awareness Month issue: create a ribbon and enlist Estée Lauder, the cosmetics giant that had fronted previous breast cancer initiatives, to distribute it in New York City stores. Breast cancer survivor Evelyn Lauder, daughter-in-law of Estée Lauder, went one better: she promised to put the ribbon on cosmetics counters across the country. The colour, as yet, was undecided.

Then they heard about Haley and called. ”We said, ‘We want to go in with you on this, we’ll give you national attention, there’s nothing in it for us,” Penney explained in an interview, years later. “She wanted nothing to do with us. Said we were too commercial. We didn’t want to crowd her but we really wanted to do a ribbon.”

So, they chose pink. Almost randomly. Because, sometimes, semiotic symbols are born simply by chance or accident.

Think Pink!

In the Fall of 1992, Estée Lauder handed out 1.5 million ribbons, each accompanied by a card describing a proper breast self-exam. They also collected over 200,000 pink ribbon petitions urging the government to push for increased funding for research.

The pink ribbon had arrived.

In 1993, Pink Ribbon petitions were delivered by Evelyn Lauder and Alexandra Penney to First Lady Hillary Clinton at The White House, urging government support for breast cancer awareness. Subsequently, President Bill Clinton signed a proclamation naming October 19th as ‘National Mammography Day’.

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Evelyn Lauder, Alexandra Penney and Hillary Clinton during the launch of a Pink Ribbon Campaign

Jumping on the bandwagon

Then Avon jumped into the fold. About two inches long, the original Avon pink ribbon (issued in 1993) was a formidable piece of jewellery – half pink enamel and half gold cast, winced in the middle by a flowering gold rose. In it’s first two years, the pin raised US$10 million.

Later that year, Estée Lauder introduced a heart-shaped compact with an enameled pink ribbon design, whose profits would go to its Breast Cancer Research Fund. The Susan G. Komen Foundation started offering a pink rhinestone brooch. Carolee Jewelry created one with a female runner in midstride, flowing ribbon in hand. Teddy bears, sports clothes, credit cards, bed linen, perfumes… name it and there was a version of the original Estée Lauder pink ribbon to match!

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Evelyn Lauder with some of her Breast Cancer Awareness products

But it was not all about publicity and profits. Between 1991 and 1996, federal funding for breast cancer research increased nearly fourfold to over $550 million. And after increasing for more than two decades, breast cancer incidence rates began dropping  from 2002 onwards. That’s not all: according to the American Cancer Society, the percentage of women getting annual mammograms and clinical breast exams has more than doubled over the last decade. Most importantly, it wasn’t just in the USA – the movement was worldwide and so were the results.

And while the pink ribbon was essentially an Estée Lauder creation, the company had no qualms about letting it be used by thousands of brands worldwide to create products that would increase awareness about breast cancer and bring in money for the cause.

Because that, after all, is the only thing that matters.

Weaving in the blue

In 1996, the pink and blue ribbon was designed by Nancy Nick, president and founder of the John W. Nick Foundation to bring awareness that “Men Get Breast Cancer Too!”. Later, a blue stone was added to the Estée Lauder Jeweled Pink Ribbon Pin to represent the 1% of all breast cancer cases that are diagnosed in men.

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The original Estée Lauder Dream compact now also sports a blue ribbon to represent the 1% of men who are affected by breast cancer. This year, 100% of the retail price of each Dream Compact sold will be donated to the Breast Cancer Research Foundation

The light of hope

By the year 2000, Evelyn Lauder knew that someone had to start going further than pink ribbons. So, she launched the Global Landmark Illuminations Initiative to focus further attention on the importance of breast health and early detection. In its first year, 26 landmarks in 22 countries were lit in bright pink lights, including New York’s Empire State Building, Sydney’s Opera House and Italy’s Tower of Pisa.

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The Empire State Building glows pink

By 2010, 38 global historic landmarks had joined the project, including Esterházy Castle (Austria), Niagara Falls (Canada), Zappeion (Greece), Taj Mahal Palace Hotel (India) and The Peninsula Hotel (Hong Kong). Pink had gone global and the BCA Campaign set a Guinness World Record entitled ‘Most Landmarks Illuminated for a Cause in 24 Hours’.

To date, over over 600 landmarks have been illuminated across 70 countries. And even though a few detractors question the effectiveness of this campaign, the fact remains that Estée Lauder has managed to link the colour pink with breast cancer so effectively that worldwide, when you see a pink-hued building looming on the horizon, it makes you pause. And think. And maybe take that life saving mammography test.

And that, in the truest sense is the achievement of ‘pink’ and the women who brought this lethal disease – which affects everyone yet was spoken about by none due to social and cultural constraints – into the global limelight. With every single woman (or man) who defeats breast cancer, the campaign gains a victory. So, go and visit the part of your city that has become a beacon for this glowing cause. Pause for a minute and think of all those who have gone before. And then take that test. TODAY.

Will you?

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‘Think Pink!’ at the Niagara Falls