The Perfect Sequel: FINDING DORY

The first film I ever saw at the cinema was Finding Nemo back in 2003 and now, 13 years later, I went back to the exact same cinema to see the film’s sequel. It’s a feeling of nostalgia that I’ve only ever experienced from seeing Toy Story 3 and Monsters University before, but this film was something different to those altogether. Unlike both of them, this film wasn’t the third instalment in
the series and it wasn’t just a really modernised prequel to the original. Instead, this managed to be both a prequel and a sequel that was so close to the original film, at the same time as managing to feel unique.

Without giving away any spoilers, the plot of the story is actually a lot more interesting than I had anticipated. We follow Dory, Marlin and Nemo a year after the events of the first movie as Dory slowly begins to remember that she spent almost every moment of her life up to when she bumped into Marlin on his search for Nemo, trying to find her parents. The rest of the film follows Dory remembering things about her family through the means of flashbacks as well as making new friends and facing loads of different obstacles along the way. I thought the story would be like a carbon copy of the first movie, but it really wasn’t and was actually a much more gripping and dynamic tale to be compelled by and to be absorbed into.

Marlin and Nemo ask Fluke and Rudder with some help finding Dory

The visuals in the film were stunning, too. I watched Finding Nemo once again a few nights before going to see the movie and it’s incredible how different the two films look side by side. Obviously, animation has come on leaps and bounds since the first film was released in 2003, but it’s still amazing how much more beautiful this new movie is. With a film like Finding Dory, where you’re exploring a world that exists but we just don’t get to see, like under the sea, it’s breathtaking when the animators show you what they can do by making the ocean look so gorgeous. It’s a task that I can imagine is incredibly complicated, but it’s an effort which is greatly appreciated.

The music of the movie is stunning as well; Thomas Newman really has done a fantastic job in composing the very moving incidental music that makes up this score which I have gone back to and listened to on Spotify over and over again since seeing the film. It’s only really in animated movies that I realise the importance of underscored music in film and in a movie like this one – when done right – it really, really works. The voice cast were also spectacular with my total favourite being Sloane Murray who voiced Baby Dory. Every single time that cute bundle of blue appeared on the screen, my heart melted at the sound of her adorable voice.

Hank and Dory try to escape in Finding Dory

Whether you want to see this movie because you loved the original, or just because you want to experience the fantastic Disney short Piper which plays before the movie, you’re going to leave the pictures feeling extremely happy. It’s one of those movies that sticks in your heart for a long time after you’ve left the cinema and if you’re on-par with some of the jokes as well, you might still find yourself laughing at Sigourney Weaver’s random cameo days later…

Has the word "feminism" lost its weight?

It’s hard to believe in the world we live today that the idea of feminism was an issue even 20 years ago. Dubbed as “the f-word”, those who considered themselves to be a feminist were labelled as being hairy, ugly, over-educated lesbians with their own personal voodoo vernacular. Saying you were a feminist and owning the label came with an incredible amount of negative connotations and as small-scale activism was still very taboo, you were immediately thought of as being a part of some kind of cult which didn’t need to be around.
The rise of the celebrity feminists changed that though and with the introduction of girl pop bands in the 90s like the Spice Girls, the public’s opinion towards feminism started to change. Granted, feminists still weren’t seen as people who had the right idea and were instead seen as (mostly) women who were being wildly fanciful, but it was a step in the right direction after the backlash that had come before it. Flash forward 20 years and feminism has become a label that many wear proudly – perhaps because doing all of these once-negative things is now cool, so people are much more open about embracing those negative connotations – but it’s a good thing no matter which way you look at it. Female media icons like Beyoncé are extremely open about their support for feminism much like other influencers like Lena Dunham and Mindy Kaling, but some see this as a negative thing in our progression as a feminist community.
Beyoncé performing at the 2014 VMAs
Andi Zeisler – author of We Were Feminists Once – calls this celebrity feminist phenomenon “marketplace feminism”; a convenient packaging that brands and pop stars can use to make themselves seem more inclusive, forward-thinking and supportive. She also notes that the Bechdel test has become a commonplace thing for moviegoers to look out for and that the idea of thought processes that were once exclusive to main-steam feminists becoming mainstream makes Zeisler worry that they have started to lose their meanings. According to Zeisler, the word “feminism” has become synonymous with words like “strength” and “power” being used interchangeably with the two, thus being thrown around without very much weight behind the phrase whatsoever.
She believes that this new kind of modern feminist enjoys watching female-centric TV shows like Orange Is The New Black while sat in her “granny pants”, but seems to ignore the fact that women who defend themselves from sexual or domestic abusers are being locked up every day. The point that Zeisler is trying to make is that women are picking and choosing the kinds of feminism to support; instead of thinking about the serious legalities that come in the way of feminism, they are choosing to simply indulge in this “surface layer” kind of feminist material that is now so readily available instead of properly educating themselves.
Maybe this is true of Zeisler to say and perhaps more feminists should be taking the time to explore the issues for themselves, but this new idea of “marketplace feminism” is hardly a bad way to set people off. If watching addictive Netflix TV shows while wearing a particular style of underwear is how a certain person chooses to embrace feminism then there is no problem in that. Feminism doesn’t have to be a driving force where everyone is on the same page – let’s be brutally honest here and think about how many people would not be active and proud feminists if every single person was pushed to address every single legality put in front of them. It is of course admirable that a lot of feminists are willing to be the frontrunners for that, but it doesn’t mean that they shouldn’t have moral support from the people at the back.
An Always feminist advertisement, which Andi Zeisler argues is demeaning the term.
My understanding of feminism is higher than the country’s average for my age group I’m sure, but my circle of friends definitely help to stimulate that. Whilst we don’t analyse and discuss every single feminist legal issue put in front of us, we still cover a heck of a lot of detailed topics as well as the surface area “marketplace feminism” that Zeisler isn’t a fan off: that doesn’t make me any less of a feminist than Zeisler herself. The same applies to someone who is willing to just say they’re a feminist when asked, or to the person who has it written in their bio on Twitter: we are all a part of the same collective.
As we all march forward in this battle for equal rights, it’s important that we support each other and help educate one another further on the topics we’re discussing. It’s inspiring to see other people proudly open up and support this cause together no matter what the setbacks might be, so it’s disappointing when some are quick to push others off of the horse cart. Zeisler’s idea of “marketplace feminism” is a fantastic stepping stone into this world of equal rights, but we need to make sure we support one another no matter how far into our journeys we are. We need to follow-up the basic understanding that we get from mainstream media with more weighted arguments to find our footing in this fight as a team. After all, we are all in this movement together.

Paul Strand: Photography and Film for the 20th Century at the V&A

When it comes to photography, I have a very specific taste in what I enjoy looking at and what I generally consider to be just a picture. In my eyes, a good artistic photograph is one that comes from an interesting background with not only a story behind it, but an artistic idea, a life, and a concept too. Paul Strand is a man who managed it throughout his expansive career in the 20th century and this new exhibition that’s currently open at the Victoria & Albert Museum – called Paul Strand: Photography and Film for the 20th Century – looks at just that. The exhibition is a timeline of Strand’s life and documents his interests and passions for different kinds of photography. As his life grows, you discover his motivations behind why he was fascinated by different ways to photograph for different reasons; the exhibition concludes with a photograph of Stand himself in his garden taken by his wife of the time.

Strand’s photograph Workers’ Bicycles taken in Luzzara, Italy in 1953
It’s normally easy when walking around an exhibition of photographs to pick out clear favourites and ignore the vast majority of them because you aren’t interested, but Strand’s work is quite different. As you begin to learn more and more about the man himself, your appreciation for his work grows rapidly and you can’t help but stand and stare at every single image for long periods of time. It’s presented in a way that’s inspiring too, with almost all of the photographs being housed in an identical frame but almost all of the images themselves measuring at different sizes. Strand is quoted half way through the exhibition for being fascinated by the idea of vast landscapes and expansive scenes being captured in tiny photographs for prosterity; the image above – which is called Workers’ Bicycles and comes from his book based in Luzzara – is about as big as an iPhone screen at the exhibition.
A photograph of a baby taken from Ghana: An African Portrait by Paul Strand (1977)
Strand’s passion for photographing people fueled me with inspiration as well. When he started off as a photographer in his hometown of New York City, he tried his best to photograph people without them knowing to catch their character off-guard. He quickly abandoned this passion for photographs of architecture until he married for the first time when he started to take purposeful pictures of people he loved (very interestingly, a film camera is one of these ‘people’ and the idea of treating an inanimate object with as much care as an actual person totally fascinates me). He struggled to capture their character though and he kept working on this through his life – from trips to France to trips to Italy – before creating his final book in Ghana, where the picture above was taken. It’s one of my favourites from the exhibit.
Young Boy taken by Strand in Charente, France (1951)
Whether you’re interested in photography, interested in humans and society, or neither of those at all, this is an exhibition that you’d be a fool to miss. It’s not only an exhibition that displays excellence when it comes to photography and film in the 20th Century, but it’s a display that offers a commentary on the world as a whole from a political and social perspective too. Paul Strand is clearly one of the most ingenious photographers of the past hundred years and his work survives beyond him as a testament to that. 

Where Have I Been on YouTube? Life Updates!

If you follow me on Twitter (and if you don’t then you should – @shaunycat), then you’d know I’ve been a pretty busy bee lately. Not only have I been tucking back into the idea of blogging every day that I can now I have some more spare time, but I’ve also been producing content for other outlets left right and centre, including some print publications! During that time though, I’ve seriously lost my mojo when it comes to YouTubing and all that malarkey so when inspiration struck today, I seized it and filmed an updates video to explain my absenteeism. Now, I’m gonna try and mix video-planning and revision for the rest of the evening – enjoy the video!

The History of Everything #01: Blusher

I absolutely loving doing history blog posts over on Shaun’s Musical Musings, so when thinking of ways to put beauty back into my blogging routine, I thought today’s post would be a good place to start. In this series of ‘A History of Everything’, I’m going to take a random thing in each installment and talk through its history for the sake of a mini lesson for us all.

When I think about vintage makeup and what’s been around for a very long time, powder immediately comes to mind and coloured powder pigment – or what is now pretty much blusher – comes shortly after. But where did the evolution of the blusher originally begin?

To start with, the correct name for blusher isn’t even blusher: you’re meant to call it rouge because of the colour! The original idea behind it is to create a youthful glow in a more mature woman’s cheeks to give them a bit of life and the idea started in Ancient Egypt. In fact, the original rouge was a sort of two-in-one as the pigment was also used on their lips to accentuate the colour of those as well (which is now lipstick’s job) for both men and women. The lead they used in their cosmetic products was deadly and it was starting to become more fashionable to be as pale as possible as it was as sign of wealth. Time progressed and the middle ages came in where applying blusher over your white face was seen as a sign of even higher wealth! To achieve this, people would cover their face in eggwhites (I’d love to know how, but whatever) or bled themselves so they lost blood and looked paler, before applying a mix of water and strawberry juices to the cheeks for a rosy glow. As time went on even further, Victorian times came in and connotations were put to the product which suggested that wearing it was something only the lower class did; men stopped wearing it altogether on the most part. Wearing rouge started to be seen as “tarty” and the product became so scarcely available, women started to resort to pinching their cheeks and biting their lips just to add that reddened look to their complexions.

Various different substances have also been used to create rouge. In Ancient Egypt when it was first discovered, mulberries were crushed and the liquid was used. Following that, beetroots, strawberries and red amanranth were also crushed and used as colouring and Ochre powder was used at some points as well for the original powder blushes. The people at Bourjois then saw the potential in modernising the stuff by mixing the colour of greasepaint that an actor would wear (essentially face paint but worse for the skin) and the typical baked powder to make a cream coloured pigment in 1863. By colouring powder, mixing it with water in a mould and then baking it, they managed to create what is believed to be the first cream blush.

Nowadays, blush is made from red-coloured talcum-based powder and is applied with a brush; the process of making a powder blush still works in a similar way as well and Bourjois alongside other companies continue to improve their process of making them as time progresses. Sometimes, they also mix Alloxan and cold cream to make a similar, red creamy solid to use as a blush.

Whether you use it or not, it’s incredible to think that something like blusher – a seemingly normal cosmetic product – has a long enough life to stay it’s been around since Ancient Egyptian times. That’s one big history for sure!

Why Jon Favreau’s ‘THE JUNGLE BOOK’ is better than the original Disney classic

It’s no secret that I love Disney with all my heart and it’s also no secret that animation is an art form that continues to fascinate me as more and more advancements are made with it, so Jon Favreau’s latest blockbuster – the live action remake of Disney’s The Jungle Book – is the perfect fit for what my film-watching soul craves. Not only is this remake a fantastic reworking of the original classic that beats the 1967 movie’s script for sure, but it’s also a visual masterpiece in its design and feel; apart from Neel Sethi who plays Mowgli, every inch of the movie is computer animated to look as realistic as it possibly can. It’s not only a breathtaking idea but it’s equally as stunning when seen for yourself.

My main issue with Disney’s original animated movie was the serious lack of female characters. Gender-heavy movies have never played all too well with me and maybe it’s because I go to a mix-gendered school and keep mix-gendered friends, but I always fail to be convinced by an all-single gender cast no matter what I’m watching. Obviously, this isn’t necesarilly Disney’s fault as The Jungle Book originates from the original novel by Rudyard Kipling, but an effort to fix the problem would’ve been appreciated. This new incarnation however does add in a few more female characters with Scarlett Johannson voicing the originally-male snake Kaa, alongside Lupita Nyong’o as Raksha and Brighton Rose as Gray. It’s not too many women but in a movie that originally only had one female voice (as an Elephant that passed by – shoutout to Verna Felton), it’s a move in the right direction.

World-building in movies is another big love of mine and considering the original movie was set in the jungle, the world that they were in felt decidedly small. Perhaps it’s the contrast between the quite quiet backgrounds in the original movie and the busy, vibrant ones in the 2016 remake, but the jungle in this movie felt just as large as it was intended to feel; when we got to the edge of the jungle, I felt like we were actually at the edge of this wide and expansive jungle and we’d been going around this vast space for a very long time. Much like their adaptation of Into The Woods from 2014, Disney live action movies are getting good at creating believable worlds – especially when trees are involved.

It was also nice to see some music from the original film be used in this movie, despite the additions feeling slightly odd after a while. The full scale musical number of Bare Necessities didn’t feel like a strange addition to the piece as the song itself is sang within the context of the story, but when Christopher Walken’s King Louis starts singing I Wanna Be Like You, I started to get confused: why was this film suddenly bordering on a musical, when it hasn’t been at any other point in the movie so far? It was odd and kind of out of place, but I love musicals (of course) so it wasn’t all too hard to stomach. The film’s script was gorgeous though with much more heart than the original movie in my opinion; the new mother-son relationship between Gray and Mowgli made for a much more touching tale and the context of why Mowgli was in the jungle in the first place being explained at the start of the film made for an easier-to-understand movie, too.

Jon Favreau and the entire team on this film have managed to turn a well-loved but kind of poor movie into a cinematic masterpiece. Through its well-written storytelling, beautiful hands-on direction, and fantastic special effects throughout, the Disney live-action fairytale has never been more glorious.

How Shakespeare and his work have remainded relevant for 400 years

As we celebrate 400 years since Shakespeare’s death (and 452 years since his birth), the literature and theatrical communities begin to reflect upon how they’ve experienced Shakespeare’s work and when they’ve enjoyed it the most. My personal favourite encounter with The Bard’s work was the 2013 revival of Othello at the National Theatre starring Adrian Lester and Rory Kinnear; there was something so special about that modern setting they put it in that made it so great, never mind the incredible performances that made me realise what good acting really was. While I’m lucky enough to have had many different experiences with Shakespeare’s original texts, a lot of people who aren’t fans of theatre and literature don’t get that kind of exposure… or do they? In the 400 years since Shakespeare’s death, so many of his stories have been repurposed to tell other tales that the wider community might well be more familiar with and it’s this way of telling Shakespeare’s stories that helps him live on even further into history.
Film is a simple place to look for Shakespeare stories set in the present day and teen movies are a good place to start looking. She’s The Man – a 2006 romcom starring Amanda Bynes – is based on Twelfth Night but is instead set in an American high school. Also, little do people know but Channing Tatum is actually in this film too as Duke (the names of the characters from the original play remain in this movie). Set against the back drop of The Taming of the Shrew is fellow teen rom com 10 Things I Hate About You released in 1999 and starring Julia Stiles, Heath Ledger and Joseph Gordon-Levitt. The year before that came Shakespeare in Love by Tom Stoppard which was a film led by Shakespeare while he was writing Romeo and Juliet and directly borrows quotes and plot lines from several of Shakespeare’s plays of the time. The film was turned into a London stage play in 2014 and was received positively by critics. A couple of years later in 2000 saw Hamlet starring Ethan Hawke which followed the play’s original story but was set in a modern day New York City instead.
A few years before that came what is perhaps the strangest interpretation of a Shakespeare story, the 1956 American science fiction movie Forbidden Planet. Borrowing themes from The Tempest, the film presents chunks of the plot in a serial style set on an interstellar planet far away from Earth, the first film to have ever done that. Decades later in 1991, My Own Private Idaho starring Keanu Reeves – an American adventure film – was released based upon four of Shakespeare’s Henry plays. The story follows two friends, Mike and Scott, as they embark on a journey of personal discovery that takes them to Mike’s hometown in Idaho and then to Italy in search of Mike’s mother. More recently, we were offered up Gnomeo and Juliet in 2011 with an all star cast for an animated kids movie (one of the best kids movies ever!) and Warm Bodies in 2013 which in turn is based upon the book which is loosely based upon Romeo & Juliet, but about vampires instead. Other timeless adaptations of the famous tale of love include the Baz Luhrmann Leonardo DiCaprio/Clare Danes-led movie of the late 90s and the recent 2014 adaptation starring Hayley Steinfeld.
The theatre also have several offerings of musicals that are based on works of the Bard’s. In 1948, Cole Porter penned Kiss Me Kate as a response to the rise of Rodgers and Hammerstein musicals with this show being based upon The Taming of the Shrew. It was extremely well received and took home the Tony Award for Best Musical that year on Broadway. Almost a decade later in 1957, West Side Story premiered on Broadway based upon Romeo and Juliet. With music by Jerome Robbins and lyrics by Stephen Sondheim, the show is one of the most successful musicals in history with the movie adaptation still being a cult favourite to this day. In 1971 many years later, The Two Gentleman of Verona became one of the first majorly successful American rock musicals. Boasting an ethnically diverse cast and a Tony Award for Best Musical, it’s now seen as an incredibly good under-appreciated show. Speaking of forgotten shows, the 2004 Elvis Presley jukebox musical All Shook Up was based upon Shakespeare’s Twelfth Night. It was well recieved but the piece has since been rewritten and reworked for future productions. 
The most successful Shakespeare adaptation of all time though has to be Disney’s The Lion King. With a timeless 1994 movie adaptation and an uber successful 1997 stage adaptation – which continues to play in both London and New York to standing room only as well as across the Globe – the franchise is the second most commercially successful franchise in history. Based upon the story of Hamlet, the tale is repurposed as an animal fable and it continues to capture the hearts of audiences until today. Most recently, we have Broadway’s Something Rotten! which opened last year. While it isn’t based upon a true story, the funny tale about Shakespeare and fictional rivals The Bottom Brothers offers a reason behind why Shakespeare’s future work might well have been so successful… The show continues to play until today and plans on moving to London next – Christian Borle who portrays Shakespeare even won a Tony Award for his performance.
With all of these modern adaptations and reworkings of Shakespeare’s stories in the world and his work continuing to be produced in schools, at Shakespeare’s Globe and at the National Theatre among other places, it’s no wonder that this man and his work will never truly die. He is undeniably one of the most timeless and talented playwrights to have ever walked this Earth and without him, it’s hard to imagine what the face of playwrighting and relatable storytelling would look like today.

The Surprise Success: Disney’s ZOOTROPOLIS

I won’t lie to you: when I first heard about Disney’s Zootopia (called ‘Zootropolis’ in Europe due to a popular zoo in Denmark called Zootopia refusing to let Disney use the title in Europe), I truly thought that it was going to be terrible. Despite them being something that you think are somewhat iconic, in my opinion, Disney movies centered around animals always fall short of the mark; it’s a field that I think Disney Pixar can wander through with success, but Disney Animation really haven’t hit the nail on the head with it for a very long time. Now I don’t know if it’s because my reservations were so negative or not, but the film exceeded my expectations by such a long shot that it took me by surprise even more than the shock plot twist at the end of the film did. Yes, this might well be one of the best non-Princess Disney movies since the likes of Tarzan in the 1990s.

The premise of the story and the moral behind it is what makes this such a successful and beautiful movie overall. We start by meeting a young rabbit named Judy Hopps who lives in her small town of bunny rabbits. After we discover her burning desire to become the first rabbit on the police force in the big city of Zootropolis, we see that she is constantly ridiculed for having such a wildly fanciful dream for a rabbit; a subtle nod to the affects of both racism and sexism. Flash forward many years and we learn that she put everything she could into making that dream a reality and when she says goodbye to Bunny Burrow to hop (pun was not intended!) on the train to the big city, I welled up. Shakira’s song Try Everything begins to play as we are greeted with the gorgeous visual of this vibrant and vast city of all different types of animals.

Upon arrival, it’s warming to know that this isn’t where the happiness for Judy Hopps begins. Keeping on with the theme of racism – and definitely with the theme of sexism as Hopps is the only police attendant that we get to see who is female – she is put on “traffic duty” instead of being allowed to fight crime. While on her duty, she teams up with super sleuth fox Nick Wilde after successfully stopping a serious crime and then inadvertently taking on a new and important job all for herself. Even when that task is finished, the story still doesn’t have a happy ending and it’s the fact that the main event of the film are these two outcasts of society (due to their species) succeeding despite the odds that shows you what this movie is truly about. It’s a movie about celebrating diversity and learning that nothing can stop a person from achieving their dreams. The undertones of combatting both racism and sexism are delightful throughout, with my favourite moment being when Nick Wilde calls Judy Hopps “cute” to which she responds with (and I paraphrase): “you can’t just call me cute. Only rabbits can call other rabbits cute… it’s weird otherwise” – Disney just managed to reference the use of the N-word in a kids movie! Genius!

Zootropolis really is a beautifully acted and well executed portrayl of how the world around us is on a day to day basis and how it can be if we open our minds and change for the better. It’s a movie about acceptance and succeeding despite the odds and perhaps one of the only Disney movies in recent years to genuinely inspire you to do some actual good, with a message that isn’t in any way superficial or fanciful. In a period of time where the Oscars are white washed and Hollywood is looking more discriminatory by the day, it’s enlightening to see a glimmer of hope in a landscape of prejudice: a kids movie that unapologetically celebrates diversity made by one of the largest companies on the Globe. If you get the chance, go and see Zootropolis in cinemas this Easter break. No matter if you’re 5, 25 or 55, it’s a movie that everyone could benefit by seeing. Let’s just hope that Disney takes on its own messages this time and starts making movies in a more diverse and appropriate way to shift a change in this overly white Hollywood landscape.

The Beauty Bag with RougePout

My favourite blog posts to create are these ones and it always makes me so happy to have a guest on who is a blogging buddy and a friendly face that I know and love. Today, Rebecca from Rouge Pout is here to talk about what she likes to put on her face in the morning and I’m delighted about it. From her signature lips to her always glowing skin, she is always a beauty…
“My name is Rebecca and I am a makeup hoarder, please don’t mention skin care as this could be the longest post ever written. My beauty obsession has seen me from my teens to my mid forties, where only the tone of my red lipstick has changed but my love for red never wavers. I am known for my red lipstick, I have many, blue reds, satin finish, matte, gloss, oil, balm, butter and the list continues. I worked for Yves Saint Laurent for many years as a makeup artist and my shop floor nickname was ‘lips’. But there is so much more I love about makeup and here’s a selection I reach for frequently.
I tend to wear different makeup each day, although I do have no makeup days. I adore luminous foundations, glow giving and even though I have a combination/oily skin, I prefer the finish to matte. Collection Love created this marvellous Illuminating foundation which for me is better than many high end offerings. It has a lovely build-able coverage, gorgeous glow when on the skin and lasts beautifully. Sephora #55Pro Foundation Brush, is one of the best, flexible, soft and superb with all foundation textures. This can be used to sweep, press and stipple foundation onto the face. Urban DecayNaked Concealer helps me to hide my hereditary dark circles, it’s smooth without being too thick, it doesn’t crease or move and gives a luminosity to the undereye, one of my all time favourites.
Fairydrops Mascara is for the grown ups, it’s a serious product packed wand. This is perfect if you have long lashes and like length, curl and volume to the lashes. A very creamy consistency that holds the lashes in place, I don’t need to use eyelash curlers with this mascara, it does all the work. They also do a waterproof version but I prefer the non-version. Clinique Gel Liner is one of my all time favourite products, I have lost count how many of these I have bought throughout the years, superb consistency that enables you to create every eyeliner shape possible. The strong pigment gives a true black, long lasting finish, I have never found an eyeliner that comes near to the quality of this.
The Balm Company’s Frat Boy is one of those blushers that just ‘works’ a gorgeous warm pink/coral shade, although powder it has such a smooth application finish it feels almost like a cream product. This is the blusher I reach for when I’m travelling or out for the day, it goes everywhere with me. Tarte and the Tartelette palette, it’s the only palette I own that is solely matte shadows. Again the quality of the product is why this is a must for me. Matte shadows can be quite unforgiving, they drag on application, they can look patchy and often drop more product on the cheek than on the eyelid. Tarte have some of the smoothest shadows and the colours give the option of a subtle everyday look to full on evening glamour. Gorgeous product and packaging, the large mirror in the lid is handy also.
Finally ‘the red liptsick’ which to pick, oh the choice! Rimmel created one of my most worn blue reds, lovely moisturising texture, strong pigmented colour and it can withstand the drinking of a cup of coffee without showing any signs of wear. I will often reach for this because its such a reliable red. The makeup bag is one that makes me smile, from GlossyBox – it’s so cute.
Thank you Shaun for inviting me to intrude on your blog, it’s been fun”
You can find Rebecca on her blog, her YouTube channel and on Twitter.