Magical Makeup Looks with THE Eva Green

So in 2017 I was asked to work on the new live-action film version of Dumbo and this is the film that just came out. The new Disney movie has just premiered. It is directed by Tim Burton. First of all, I probably screamed because I always wanted to. "To work with Tim Burton. I'm a huge fan of his. I love his movies. I love his vision. I love his imagination. Secondly, because it was Colleen who spoke and she's an incredible costume designer and the idea of ​​working with her I can't". I don't even begin to explain how incredible she is, just look her up, she has four Oscars she has worked on Tim Burton heavy films, many other incredible films, her vision, her ideas, everything about her is just mind blowing and so is Ava Green, who I already knew, but The idea of ​​creating

looks

for her I loved her face and being Dumbo and being set in a circus and on the set of 1919 also appealed to me a lot because obviously I love my history of

makeup

, but being able to combine fashion with the story and bringing some fantasy and fashion to the party was a lot of fun for me.

The first thing I did was work on mood boards and ideas from everything from Ballet Russe and then really look at circus performers. I'm lucky because I've collected so many amazing reference books for this kind of thing over the years, including scrapbooks and original drawings, and then the first day on set I went to the costume department, which gave me It amazed me, it was so exciting that it gave me a lot of ideas. There was so much inspiration there, not only in terms of color but also in terms of texture, everything was so rich and I felt so lucky to be a bit like a contest winner.

I think he was very excited to be there and just watch. in the locker room it was enough to give me another hundred IDs right there, and then the first two days I was working on a model, so this is when you can test the things you are making, it

looks

very fast, so I'm not polishing them just seeing this golden eyebrow for me, it was exciting because I love golden eyebrow, it definitely had a fashion feeling, even sometimes two different looks or even sometimes two different eyebrows, two different eye

makeup

s to try and get so many looks as possible to have something to show Colleen or something; it just tests next to a costume and then we take pictures of all these different elements and send them to Tim, so that was really interesting to me as well. just being able to see all the different concepts and ideas that he had and being able to offer something that someone who hasn't worked on a movie before would be excited about and really like, day in and day out, you know.

I think in particular I come from a fashion background where we do one look a day, so I'm used to bleaching models' eyebrows, maybe even blocking them and lifting them up. All of these things would work really well in fashion, but of course when Averell suggested we do it and it was like oh my God, no, because that day I'm probably going to shoot a lot of different looks too, so she can't, you know, no. you could dye and bleach them five times in one day. You won't do all those things and you won't want to torture the actress either.

Some of the really ornate looks I did with a lot of files either wouldn't work with the angles that maybe Tim had in mind or wouldn't work with the initial makeup artists, which Ferguson was more interested in because he was worried that, for continuity, you'd have to to film something over a period of five months and you were constantly going in and out of it, that content would somehow be very difficult to maintain continuity, so it was very exciting for me, it was a huge learning curve and I was also very happy to do it . I really want to show you some of the process I'm going through. talk to Ava now and see what you think and I'm also going to recreate some of these looks for you to see because I think some of them are so beautiful so I was really excited to be asked to do this. work not only because it was you, I mean, who wouldn't want to come up with a version, but also because Tim is a lifelong fan here and Colleen, I mean, those costumes were yeah, I mean, you know, yeah, Killeen is like the costume designer, she's so brilliant and she, she designed those very theatrical costumes, all peacocks, very gold, yes, very rich colors, yes, they also help a lot with the makeup.

Oh, completely, I mean I saw all that and all the context and you know, Colleen told me. The looks can be inspired by the costumes and inspired by the period, but they can also bring something a little bit of fantasy, yes, enemy, and for me it was the first time I made a film that allowed so much resemblance to fashion. fashion looks, you know it was, it was just a joy to be, you know how to get to the end like you know great, you know, red lipstick, gold and it was yes, for the looks, I mean the first one, we have the arrival scene.

Yeah, and you're a little bit yeah, because my character starts off, you don't really know who she is, she's quite emetic. I mean, yeah, she's the star, so she's pretty haughty, pretty cold, so what you're seeing here are the real ones. initial makeup screen tests for this look and this makeup was really important because it was not only used in the biggest rival scene but also in all your scenes with the amazing peacock dress that you designed, that look that is so cool, You know? Those eyes like some kind of Winkie, yes, the eyes, yes, they are so beautiful because they also make the eyes pop.

I definitely felt like it had a feeling that it was like couture and that you had this almost like it was a little bit almost 1940s, which it is. way ahead of the time, but just to give it that kind of 40s couture feel and with the lip, I know you love the lip, I love the lip, I've never seen it before, it's pretty amazing, I want I mean, you probably speak better than me, but you made that kind of lip tint and then in the middle, you bring in that kind of bright red that's amazing and it's like a powder.

Yes, I'm totally red pigmented, so I'm obsessed. It's that kind of extra dimension of that kind of haughtiness and it just gave you that intensity, I think, and I mean, I was on set that first day and I saw you get out of the car and seeing the makeup, I was like, yeah, beautiful and then court. to the appearance you are obviously out of place, which is the one you like every day and we completely get along, we work together on what we think and you are improvising, I mean, I felt like she would still blush, yeah, on her day off . and you said yeah, I mean, that's interesting about the character and it says a lot is that she has that kind of mask in public, so it's like she's full on, you know, a lot of makeup, beautiful red wig and then, you know, you you remove it. the mask and she is just that more vulnerable, more approachable type of woman.

I have this amazing scrapbook from exactly that period from someone who collected all the music-hall type characters and we were looking at that and noticed that a lot of them seemed to like even on their day off blush because they were still slightly on even during one day or we kept the skin very natural there and we had little highlights here and there, but very subtle and I think. There's almost no mascara, right, I can't, yeah, we did, that's right, we had a little touch of mascara just to highlight the eyes. I've known how to fly since I was a kid, they thought she'd fallen off her eyeliner, so the pièce de résistance, well, one.

For me, one of them was the gold costume because she looked amazing in it and Alampi Sean's red wig was to die for and then we played around with this a little bit and we really felt like there was a lot of color, like the 1920s collocation. blush, we were going for that lip again, but we went a little bit more orange and very intense with the powder and then we wanted to add glitter and actually, glitter wasn't invented in 19 19, the kind of glitter that we have today, so we push. 16 years ago we brought it in so you could have a little bit of gold shimmer here, yeah, and you came up with the idea of ​​having a little bit of silver behind the lash line.

I mean, it was a memory idea and it's kind of unusual. and it makes your eyes open again and there's something fairytale and

magical

about it and you forgot to mention well not a black star oh yeah the star oh my god the stars it was funny because before Ava entered into the process I was doing. Initially he liked the star but we couldn't keep the size right so we kept working on it and it was actually Phyllis Cohen from Face Lace who did it and it really hurt me a little bit. a little bigger a little smaller a little bigger so we tried it all and I was so happy that Tim was like, yeah, I like it, I think it's cool, it could be a fad, people should give it a star, yeah, I mean, it came from all different periods of history and it wasn't exactly for that period, but it just added, I mean, I was saying I was really happy with it, so for the red costume, oh, I love the red look. and especially, I mean, I'm obsessed. with this red blush that I've never had like, you know, blush here and blush here, I think it's such a beautiful thing and it means there's something quite

magical

about that, yeah, we took it on the eyes, in fact, he also went for All this. -About the red look with the red lips with the red costume and oh, the eyebrow, in the end we went very straight with your eyebrows and when I look now, I saw the movie and I saw the straight eyebrows like, um, it's beautiful.

Sure you can do this all the time and then the final look we wanted something exciting for it and we were looking at Fed Ybarra, he was actually one of the makeup muses in my book and who we were both obsessed with. I love it, no. I don't know if you've seen it, it's like black, this type of cape was made up by Patra and she was brave, yes, mentally she is, so she was the first to wear that because she was considered the vampire in Hollywood at that time in the that we are very inspired. her for that and we added the silver touch at the roots and I loved that scene at the end when you look at yourself and again an amazing Colleen costume oh god too many good people in this job so that was the whole movie but then I had the promotion and that's fun because it's the red carpet.

I love the blue eyeshadow you put on my eyes. It was so beautiful and again, a bit circus-like and brave. Look, we've been pretty brave about this. All this with the colors and I mean your outfit for that too the gold caviar hat so be very French pay for the screening in Paris we did it really just the really strong guy with the tongue as a dress and yeah Lesley made a beautiful beautiful. work and I love again the type of you, you really have that talent to be able to really close my eyes with your magic, you know, that type of lift is not so obvious anymore, a suit that makes up so much and also we always have to be careful. on the red carpet and you're brilliant at that too for concealer you know sometimes you know for me I tend to have my skin very very dry so it absorbs concealer very quickly and I don't know what you do. but you put on a proper concealer but not too thick, yes, thin layers, thin layers, my favorite word about hats, but it's true and I think people need a lot more makeup for the red carpet than in real life and you might think.

I guess because I've done it for so long, I can almost squint and see it through the lens of the flash without even turning it on now, so it's about building those layers and I just want to say, I just want you to feel safe and you know , yeah, what I'm doing on a red carpet job. I still feel almost as nervous as when I started, but I think I'm happy I got it, yeah, because I want it. to be it's good to have some adrenaline I want to have adrenaline I want to feel like yes let's do it, let's do it amazing and working as a team with Al and we've had a lot of yes and learnings and the wonderful thing is that you know with I love you with Jess you know you make me feel very comfortable oh well you know I need like armor before I go to the normal article I was nervous he's scary you don't realize how I even want to say I have I just walked by there last night when you know and I was looking at it and thinking wow you know that takes incredible guts , yeah, it was strange, it's strange, but that's why if you feel like you know, if you feel pretty, you feel. confident and then you can go do your makeup the power of Salto makeup is on Chloe and last night's look we did with the plummy polamosh eye with the red yes, I love it, I love it, I love the red around the eyes.

I'm shaking absolutist. with your eye color it stands out and I know that people would sometimes be quite scared because they would think that they would say, oh my God, it would make me look sick or something, but I'm obsessed with those who You're just applying concealer, like you say, lifting your eyes up. shadows, taking the redness out of the skin and then also giving it a little bit of life, whether it's just applying it to the skin or with a touch of blush or something like that to prevent you from having that. Rubber tea type of look, there's no time today to recreate one of the looks from the movie, but if you can leave a comment I promise whatever your favorite look is I'll make a recreation for you so you can seeexactly how it was done. yes please vote for your favorite look, what do you think it will be?

Well, which one is your favorite? My favorite look is probably the red one, the red look you had to wear mm-hmm, how beautiful and yes, very balletic, very unique, it's very balletic. I love that, but I love gold. Gold too. Gold is tuning a little.aberrated yes I don't think it's difficult a labradoodle I think so I think they're talking to me right but who knows you guys know and let us know in the comments and we'll do a recreation she's the one better.