One es­sen­tial tool that works in mul­ti­ple ways, François Nars’s smartest cre­ation is set for a new makeover this sum­mer. By Li Ying Lim.

Harper’s Bazaar (Malaysia) - - Beauty -

It was the power Nineties, and François Nars, make-up ex­traor­di­naire and New York trans­plant from the City of Light, was tak­ing cen­tre stage in the fash­ion cir­cuit. Ev­ery­one who loved fash­ion knew of his sen­sual and iconic cre­ations that till to­day re­main sig­na­ture to Nars – clean skin, an artis­tic and cre­ative vi­sion, and a love for “atyp­i­cal beau­ties”.

In 1996, the Carita Paris make-up school grad­u­ate was on the way to cult star­dom armed with beau­ti­ful im­agery cre­ated with his glam squad part­ner-in-crime Oribe Canales and pho­tog­ra­phy pro­tégé Steven Miesel. Lug­ging from one lo­ca­tion to an­other a make-up bag that car­ried a panoply of colours – and took a tal­ented hand to cus­tom-blend spec­tac­u­lar ef­fects – Nars soon found his niche. “It’s ev­ery makeup artist’s dream to have their own line,” he once said, and it was not long be­fore his epony­mous line of lip colours de­buted.


Nars had launched, with re­sound­ing suc­cess, a small set of twelve lip­stick colours with Bar­neys New York when he landed a job with Harper’s BAZAAR. In­tent on de­vi­at­ing from the opaque, heavy tech­nique com­monly used then for photo shoots, he wanted to fea­ture translu­cent, glow­ing skin in­stead, with shad­ing and colours lent only by a sin­gle lip­stick. He cre­ated a fresh look k for su­per­model Carolyn Mur­phy that would d for­ever change women’s per­cep­tion of ma­keeup: he dabbed and blended his Tang­ier gier lip­stick (a lus­tru­ous, deep bur­gundy) onto her eyes, lips, and cheeks.

The sul­try sun god­dess com­plex­ion clearly worked. When women flocked to his counter seek­ing Tang­ier to do the same, Nars was in­spired to cre­ate what he called “fast food make-up”, hence­forth known as the Mul­ti­ple. “On run­way you sell a fan­tasy but when I cre­ate the colours in my line, I think about the women who are ac­tu­ally


Be­hind the scenes of the cam­paign shoot us­ing them. And the Mul­ti­ple gives you the ef­fect of glow­ing skin re­ally nat­u­rally in un­der three min­utes,” he then said of the multi-pronged prod­uct. These days, in­dus­try in­sid­ers even use the stick on legs to get that su­per­toned ef­fect fast. It is a run­way show and red car­pet must-have.

“The orig­i­nal Mul­ti­ple de­liv­ers a shim­mery fin­ish, but I wanted a Mul­ti­ple with a matt fin­ish be­cause it’s such a mod­ern and time­less ap­proach to beauty,” he quips. Truly ver­sa­tile, use it dry for stronger im­pact or wet for sheer trans­parency.

“For colour that is more vi­brant, warm it with your fin­gers and blend it onto the skin,” he continues. “To ap­ply wet, you can dip the prod­uct in wa­ter and then ap­ply to the skin and blend it with your fin­gers. It will melt into a sheer wash of colour.”

To prep his cam­paign model Toni Garrn for the shoot, Matte Mul­ti­ple in Cap­padoce was ap­plied to the hol­lows of her cheeks, then blended out­wards for that gor­geous bronzed look. To fin­ish, An­guilla touches lent a rosy flush to the Ger­man beauty’s com­plex­ion.

Typ­i­cal of the mae­stro that b breaks old bound­aries, he adds: “There are no rules. Play with the pos­si­bil­i­ties, have fun, and fol­low your imag­i­na­tion.” Nars, 3.06.01, Level 3, Pavil­ion KL. Nars Matte Mul­ti­ple in An­guilla, RM140

Putting on the fin­ish­ing touches Nars Matte Mul­ti­ple in Cap­padoce to set and con­tour, as seen on model Toni Garrn

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