Make-up rouge - septetneuf.com

Make-up rouge
5-Rouge ANG 27-03.indd 1
31/03/08 14:55:14
“Her hair was wavy too, but black.
She dressed it carefully with a little comb dipped in
highly fragrant green ointment that made it shine.
It was parted in the middle and held back
by invisible slides. She would carefully apply
her bold red lipstick, and her pretty rounded nails
were always varnished.
It’s early afternoon. The light outside must be bright,
the blinds are drawn.
I am sitting on the edge of the bathtub,
I don’t utter a word, nor do I move.
I am literally hanging on the lips of my neighbour
which she is painting carefully before “going down”
town, lips pushed forward,
slightly pursed, that I can see perfectly in the mirror.”
Maryline Desbiolles, Le Printemps de Guerlain.
3
5-Rouge ANG 27-03.indd 2-3
31/03/08 14:55:15
GUERLAIN 180 YEARS
Exquisite rouge
“Putting the accent on beauté...” Charnotet’s 1950s advertisement
for Guerlain lipstick is a gem of concision. It epitomizes
the mission statement that Guerlain has made its own for
the last one hundred and eighty years: enhance the beauty
of women. Emphasise what the beholder sees first: the lips and
the eyes. Bring out their beauty with a lick of red and a stroke
of black. In the late 19 th century, fashion dictated that the skin
must appear natural and neither scented nor made-up (at least,
not to the naked eye...). Mouchoir de Monsieur and Voilette
de Madame quite accurately embodied this spirit of discretion.
Although the worlds of cosmetics and fragrances have always
been closely intertwined in Guerlain’s history, make-up became
popular only after fragrances. Women had finally gained the right
to embellish their appearance and would not be relinquishing it
anytime soon. Guerlain marched with women on this campaign,
often moving ahead of them to pave the way. First, it invented
the sculpted lipstick shape. Then it developed a mechanism
allowing a woman to raise and lower her lipstick from its casing
using only one hand, leaving her other hand free to hold a mirror.
It integrated the concept of luxury: fabulous textures presented in
a jewellery box case. From technique to glamour, from glamour to
a sensuous beauty ritual, Guerlain explored endless possibilities–
colour, comfort and wearability, not to mention durability, desire
and the object of desire–long before lipstick became the star
of its make-up range. Guerlain tapped a rich vein of creativity
4
5-Rouge ANG 27-03.indd 4-5
Make-up rouge
Advertisement
by Charnotet for
the lipstick (1959).
when it launched
KissKiss, star of
stars, a veritable
work of sculpture
that women adore and a lipstick that their lips crave, whose
very name is a double caress. As for the colour black, it has
marked one of the most eloquent pages in the history of
Guerlain, the one devoted to the famous Pyrommée, which
recently re-emerged as a sumptuous reinterpretation by
Terracotta. From the art of precision to a stroke of genius,
there is only a step. After one hundred and eighty years,
the Guerlain style of beauty is as stunning as ever.
One day, the philosopher Aristotle was
asked the following question:
“ Why do we devote so much time to beauty?”
“That,” he replied, “is the question of a blind man?”
5
31/03/08 14:55:16
GUERLAIN 180 YEARS
For the love of red
Beauty is in the eye of the beholder
As Baudelaire once said about make-up, “red and black
represent a life which is supernatural and excessive. Black frames
the eyes, intensifying their depth, singularity and decisiveness
as windows of the soul. Red gives the cheekbones a touch
of fire, clarifies the gaze and gives the face of a beautiful
woman the mysterious passion of a seductress.”1
When Baudelaire wrote these lines, the modernday seductress had not yet materialised.
The poet claimed to have dropped a flowerpot
on a glass‑seller in the street below, enraged
that he did not sell coloured glass that would
make life look more beautiful, like windows of
paradise. It was as if the poet were attacking the
19 th century, morbidly pale and dull. Women
in the 19 th century were only permitted to
use colour–which went against the idea of
“trueness”–to simulate emotion and create
the illusion of a natural complexion. This could
be obtained with products like the Liquid Bloom of Rose that
Pierre-François‑Pascal Guerlain imported from England. In 1828,
ladies coloured their lips and cheeks using the same product,
1 Free translation of The Painter of Modern Life, by Charles Baudelaire, 1863.
6
5-Rouge ANG 27-03.indd 6-7
Make-up rouge
not yet familiar with the sensuous ritual that would be the fruit
of Guerlain's imagination in years to come. Each woman had
to proceed like a chemist, carefully handling her vials of liquid
rouge–which were tiny, as if to escape disapproving eyes–then
pouring the contents into a saucer of porcelain and lightly
dabbing colour onto cheekbones and lips. With an ever-so
discrete result... the amount of rouge that could be seen on a
woman's face was inversely proportional to her virtue. A few
years later, women were not so shy about being seen with solid
rouges, such as Roselip, in their delicate Porcelaine de Paris jars.
Colours that lasted for hours
It did not take long for Pierre-François-Pascal Guerlain to
understand what women wanted. Since the mid-19 th century was
determined to ban colour, women were even more determined
to wear the little they could. He created Extrait de Roses pour
les lèvres to offer them “lip
colour with excellent staying
power that lasts through
meals”. Women were relieved...
and so were men–up until
then, unfaithful husbands had
been regularly betrayed by the red marks left by their paramours.
Peace was restored in French households until 1958, when the
production of Extrait de Roses pour les lèvres was discontinued.
Fortunately, Rouge G succeeded two years later. Exceptionally
long-wearing, it soon became a best-selling product worldwide.
7
31/03/08 14:55:17
GUERLAIN 180 YEARS
A lipstick to enhance beauty
Contrary to what its name may suggest, Ne m’oubliez pas was
far from forgettable. The first wax lipstick ever invented came
in its own gold-plated tube. Although the rotating mechanism
that we now use to raise the stick had not yet been invented,
this remarkable tube was equipped with a revolutionary push‑up
device. The lipstick also boasted another
Guerlain innovation, the ultimate
in sophistication: women could actually
refill the case. This pioneering, truly
unforgettable product was manufactured
from 1870 until 1943, when the factory
in Bécon-les-Bruyères was bombed.
Temptation
has no bounds
19 th
Ne m’oubliez pas, (Don’t forget
me), is the first lipstick (1870).
Ten years before the turn of the
century, Aimé Guerlain caused a stir in
the world of beauty with the creation of a new product with an
ambiguous name: Jicky. Its devotees adored this ground-breaking
new formula containing both natural and synthetic ingredients.
It would take two more decades and a bloody First World War
for the idea of relying on artificial components to cross over from
the invisible (fragrance) to the visible (make-up). Ever since,
what the philosopher Rousseau called a “dangerous supplement”,
has laid claim to beauty‑enhancing powers. In 1908, the French
author Colette praised “the prowess of make-up manufacturers”,
8
5-Rouge ANG 27-03.indd 8-9
Make-up rouge
asking: “Where are the reds of yesteryear, as bright as red
currants? Where are those unsightly whites and Virgin Mary
blues? No painter could resist the palette of colours available
today.”1 The Roaring Twenties marked the real debut of modern
make-up. Industrial innovations made as part of the war effort
(e.g. Berthelot’s work on the synthesis of organic compounds)
paved the way. While World War I claimed the lives of so many
men, it also gave way to a new woman. Active and liberated,
rejecting the strict pre-war dress code, she lit up her cigarette
and let the rules of 19 th-century morality smoulder in the ashes.
The new woman cast off her veil, revealed her face and openly
used make-up. “In the old days, no proper woman wore makeup by day, only a touch in the evening. In the glare of electric
light, the flapper abandoned
social conventions, proclaiming
that a woman could–in fact,
she should–wear make-up
in the daytime, outlining
her eyes with black charcoal,
painting her lips dark red”.2
1 Colette. Free translation of The Tendrils
of the Vine, 1908.
2 L’Express. Il était une fois la beauté.
Dominique Simonnet. Interview with Catherine Ormen. 3 July 2007free translation.
Ne m’oubliez pas, lipstick advertisement,
designed by Léonard for the US (1928).
9
31/03/08 14:55:20
GUERLAIN 180 YEARS
Make-up rouge
Roaring luxury
Realising the importance that lipstick would take on
in future years, Guerlain updated its design concepts
and formulas. Rose Lip Bengale was made slimmer,
and placed in a case that perfectly matched
the style of the 1920s. Women of the time
were even more enamoured of Rouge
d’Enfer, whose superior performance
and look of consummate luxury, with
its grace note of amusing eccentricity, ultimately became
the signature of Guerlain make‑up. The art of the superfluous
developed into something more essential, and success depended
on more practical fields such as chemistry, mechanics and
industrial processes. From a technical point of view, the Rouge
d’Enfer lipstick deserves a special mention: it could be returned
to its original position inside the case thanks to a special tassel,
patented in 1924. The grapevine
was buzzing from Paris to Madison
Avenue. Women sang the praises
of the two little chains used to
close the top, and purred with
pleasure at the heavenly feel of this
formula, which boasted a more
delightful texture and a richer
colour than its predecessors.
Rouge d’Enfer, lipstick advertisement,
designed by Léonard for the US (1928).
Opposite: American advertisement
for the Rose Lip Bengale (1928).
10
5-Rouge ANG 27-03.indd 10-11
11
31/03/08 14:55:27
GUERLAIN 180 YEARS
Make-up rouge
An exquisite ritual
American advertisement for the Nouveau Rouge designed by Elise Darcy (1928).
12
5-Rouge ANG 27-03.indd 12-13
Make-up is a game that women play... yet take very seriously.
This inspired the creation of Jeu de Dames which came in
a luxurious tube with a chequerboard design, and was wildly
successful in the United States. From this point on, what counted
were styles, cycles and detail. The silver screen became the new
mirror of fashion, faces
of stars setting the
tone. Regarded as
liberating in the
1920s, make‑up
reigned supreme
and imposed strict
rules in the 1930s.
In a 1932 interview for
a brand-new women’s beauty
magazine, Colette said: “Beauty is a form of politeness and
courtesy. One cannot conceive of it otherwise.” In other
words, no sophisticated woman could leave the house without
make-up. For Guerlain, this was a period of intense creativity
epitomized by Rouge Automatique. Long and sleek, it looked like
a miniature version of the new skyscrapers rising all over America
and came with a finely crafted mechanism that gave women
a secret weapon: single-handed lipstick application. And Guerlain
continued to supply women with heavy artillery of high calibre,
such as Nouveau Rouge with refills in five shades–light, medium,
dark, peach and tropical. No man could resist the Guerlain
woman, once she had him in her sights. Transformed into a femme
13
31/03/08 14:55:32
GUERLAIN 180 YEARS
Make-up rouge
fatale, she followed the example of Greta Garbo, Marlene Dietrich
and Michèle Morgan in France, whose smouldering gaze was
spellbinding. Then came World War II, with its many deprivations
and shortages, interrupting the mass production of make-up.
Advertisement
by Darcy for
the Rouge
Automatique
(1936).
14
5-Rouge ANG 27-03.indd 14-15
Top left: Advertisement for the Rouge G lipstick by Elise Darcy (1956).
Top right: Institutional advertisement for lipsticks designed by Elise Darcy (1935).
Below left: Advertisement for the Rouge Automatique designed by Elise Darcy (1936).
Below right: Extract of 1934 prices for lipsticks.
15
31/03/08 14:55:41
GUERLAIN 180 YEARS
Make-up rouge
Advertisement for the Rouge Automatique designed by Elise Darcy (1936).
Opposite: German advertisement for the Rouge G (1959).
16
5-Rouge ANG 27-03.indd 16-17
17
31/03/08 14:55:45
GUERLAIN 180 YEARS
Make-up rouge
Perfect wife and mother
After the war, women were expected to return to the security
of home-making and wearing high heels. While the Liberation
from occupation brought them the right to vote in France,
women’s lib was still decades away. Women ruled the roost,
performing household chores assisted by an army of time- and
labour-saving electrical appliances. Always turned out perfectly,
the modern woman donned her new full skirt, knowing just
how to make it sway fetchingly as she got into her automobile
to go shopping. To obey the demands of duty and “keeping up
with the Joneses”, the model wife and mother was expected
to apply her make-up with painstaking care. In 1954, Guerlain
offered a very substantial ally that was way ahead of its time:
a three‑in‑one product offering elegance, colour and convenience.
Creations with a passion
for signature
In the 60s, make-up emulated the changes in fashion.
The “collection” concept prevailed over that of the “look”.
Products in the same collection were decorated in the same
style, often geared to attract young people. Like the fragrances,
make-up by Guerlain sought to bring out new colour combinations
and created collections of products that harmonized perfectly.
Make-up cases, bottles and boxes were endowed with a luxurious
sophistication that became the hallmark of Guerlain creations
for decades to come. Starting with L’Or de Guerlain (1991),
followed by Divinora, Météorites and Terracotta, this make‑up
tradition was perpetuated throughout the 2000s.
18
5-Rouge ANG 27-03.indd 18-19
Advertisement by Borton for the Bal de Mai make-up collection (1965).
19
31/03/08 14:55:57
GUERLAIN 180 YEARS
Make-up rouge
Advertisement
by Mik for
the Amarante
make-up
collection (1962).
KissKiss
advertisement.
Me, myself and I
KissKiss: two are better than one
The 1970s, with its interest in the common good gave way
to the 80s, which focused on the individual and personal desire
for success. Mirroring this trend, another “star product” stepped
into the limelight. A worthy heir to Rouge Automatique, Rouge
Bicolore created a sensation in 1986 with its colour duos, like tiny
scoops of delicious ice cream: one matt shade and one iridescent,
to be used individually or in combination. At a time when people
did not choose between different pleasures–since they felt they
could “have it all”–this marvellous little invention was the first
versatile lipstick for use according to one’s mood. Brilliant!
Early in the 2000s, Guerlain undertook a new colour
odyssey with the arrival of its new Creative Director,
Olivier Échaudemaison in February 2000. His masterpiece
KissKiss, the most glamorous of all lipsticks, has been
a huge worldwide success since 2005. The KissKiss
packaging, like three magnificently superimposed
“cubes”, completely breaks with convention.
What Franck Gerhy does for architecture, Hervé Van der Straeten
does for design. He pushes the limits to see that an original
model, crafted by hand, can be reproduced on an industrial scale.
20
21
5-Rouge ANG 27-03.indd 20-21
31/03/08 14:56:01
GUERLAIN 180 YEARS
KissKiss.
The result is like a piece of fine jewellery, a faceted totem pole
and a work of contemporary art all at once, three influences
rendered in gold to produce a rather improbable luxury object.
Luxury also characterizes the KissKiss texture, which contains
Precious Reflect pigments to reproduce the reflections of
semi-precious stones. Adding the CreamSoft complex and
specific emollient oils to the formula, Guerlain was relentless
in its quest to leave the lips supple, moisturised and soft.
This inspired Olivier Échaudemaison, Creative Director, to invent
forty precious shades to give the lips a creamy satin finish.
22
5-Rouge ANG 27-03.indd 22-23
31/03/08 14:56:05
Make-up rouge
KissKiss: three is better than one
Never could a single formula fully express the potential of
this fabulous lipstick. Since its launch in 2005, three variations
on the theme have seen the light–and managed to capture it
to provide colour that is even more intense. With its transparency
and volume, KissKiss Maxi Shine is an ultra-glossy version
to apply after LipLift, which leaves the lips looking smooth and
full. With KissKiss Gloss lips become delightfully plump and
brilliant like pearly, sparkling or diamond-pure jewels. Women
seeking the satiny coverage of a KissKiss lipstick as well as
the shine of a gloss will delight in KissKiss Laque, like a gleaming
coat of vinyl. It owes its unique texture
to an oil mixture (in which pigments are
suspended) that forms a water‑resistant
film on the lips and a unique combination
of polymers that contribute high
reflective power, like a magnifying
glass or a mirror, for fabulous
brilliancy and an ultra‑sophisticated
vinyl effect. A formula that takes
sensuality to extremes.
Opposite: KissKiss Laque.
Right: KissKiss Maxi Shine.
25
5-Rouge ANG 27-03.indd 24-25
31/03/08 14:56:11
GUERLAIN 180 YEARS
Lipstick and lip gloss:
the perfect match
For its one-hundred and eightieth anniversary, Guerlain invites
us to take a new look at the classics. No longer does a woman
have to choose between a stick and a gloss, she can have
both: the timeless gesture of applying
lipstick combined with the brilliance
of a gloss! For lips that look irresistibly
plump, smooth and moisturised,
KissKiss Stick Gloss makes an adorable
KissKiss gift for this golden anniversary.
KissKiss Stick Gloss creates the
impression of fuller lips thanks to
Maxilip, an oligopeptide complex that
stimulates the synthesis of collagen.
The absorbent power of mineral oils
helps hydrate the lips, while its luscious
irresistible texture and exquisite violetred berry fragrance impart a great sense
of well‑being. With the brilliance of
its texture complementing the gleam of
the white‑gold case, this beauty-enhancing
revelation has come to join the most
glamorous lipstick range of our generation.
Left: KissKiss Stick Gloss.
Opposite: Advertisement for Spring Make-Up 2008.
26
5-Rouge ANG 27-03.indd 26-27
31/03/08 14:56:25
GUERLAIN 180 YEARS
Make-up rouge
Eyes in black
“…the subtle fascination of eyes like clear dark pools,
gleaming through the golden arbours of Turkish
pavilions on the Bosphorus...”1
Black is associated with both eyes and the history of Guerlain
make-up. In 1862, actress Lola Montez, who wrote L’Art de
la beauté, gave her recipe for preparing kohl from ground-up
ants while piously noting that, generally speaking, the use of
make-up was indecent. That same year, Guerlain had a much
more attractive solution to offer at its Rue de la Paix boutique:
the famous ready-to-use Pyrommée. With it, one could
create “those unforgettable doe eyes, once beheld by the traveller
1 Copy
used for the label of Pyrommée. Michèle Atlas and Alain Monniot. Guerlain,
Les Flacons à parfums depuis 1828, published by Editions Milan p. 133.
Advertisement
for Pyrommée.
28
5-Rouge ANG 27-03.indd 28-29
whose lucky star had happened to lead him
down Rose Street in Smyrna.”1 Similarly, the
widely travelled Jean-Paul Guerlain would
recall his discovery of an intoxicating scent
at an Indian bazaar. There is something
mirage‑like about a fragrance by Guerlain...
and Guerlain eyes... a memorable yet
shifting aura of shadow, smoke and mystery
that spans space, time and the imagination.
Olivier Échaudemaison helped carry on this quest. Working
closely with designer Hervé Van der Straeten, he created
luxurious tool boxes of fabulous eye make-up that expressed
his unique approach to beauty: pragmatic yet comprehensive.
Skilful shadows
and strokes of genius
The earliest filmmakers also created a waking dream that
remained silent. Fascinated, the audience watched the actors
on the screen communicate with eyes that were
riveting, expressive and sultry, eyes in black
and white. The audience read them for tales of
happiness or tragedy. Then the colour black left
these dark theatres behind and emerged into the
light of day. In 1922, Guerlain gave its stamp of
approval with the kohl pencil Lynx, which gives
the eyes a distinguished feline look. Like red,
black was used and accepted. Initially applied to
1 Ibid.
29
31/03/08 14:56:27
GUERLAIN 180 YEARS
the inner corner of the eye, then to the upper and lower lash
lines, and finally to darken the lashes. It was squeezed from a
tube that became all the rage, a must-have accessory for pinup girls followed by top fashion models in Swinging London,
who then started using Golden Cilpen, a “terrific” formula
with a refillable tube. Soon, black eyelashes were set against a
coloured background known
as eyeshadow–not always very
discreet, despite the name–for
a sort of glam rock look.
Guerlain gave its own poetic
interpretation of this epic period,
preferring to coat the eyelids
with a protective powder
containing microcapsules of oil
or a fluid shadow “the colour
of azure iced with rose and
tinged with gold”. This brings
The Golden Cilpen mascara (1968).
to mind a 2008 limited edition:
Tajine, a sumptuous summery eyeshadow like a precious molten
metal presented in a mysterious inkpot. It inspires thoughts
of other objects such as a slim bottle of eyeliner, nearly small
enough to be a miniature and surmounted by a sleek gold brush
whose shape fits the hand perfectly. Another cult object, an
amulet with a jewellery stopper contains a magnificent powder
of black gold, a magnificent kohl that forms a perfect couple
with Terracotta. The number 2 is magic, with two applicator
brushes that double the pleasure of creating lush, thick lashes.
30
5-Rouge ANG 27-03.indd 30-31
Make-up rouge
Terracotta new
products 2008.
The Mozais collection, like kaleidoscopes, a set of triangles
of colour that form a mosaic, waiting to be discovered under
the mirror in its round, double-bottomed case. As always
at Guerlain, beauty comes first, application is pure delight
and true elegance speaks volumes. For our eyes only.
31
31/03/08 14:56:29
GUERLAIN 180 YEARS
Make-up rouge
Let there be light
Now it is time for the final
touch to make-up, a step
that is tricky and intimidating.
This subtle powder revisited
by Olivier Échaudemaison
expresses emotion yet
must always blend in while
revealing its precious tones.
An artistic approach to
texture and depth that is
shared with writers, painters,
and sculptors... Available with
one, two or four shades,
Ombre Eclat is an oxymoron
from the make‑up world, a statement in light and shade that
plays perfectly on velvety and sparkling contrasts. It encourages
a perception of depth while keeping it at the surface. The eyelid
takes on glossy, satin-smooth, matt or pearly radiance. Ombre
Eclat is used to sculpt contours to attract attention to the eyes or
surround them with a halo of scattered light. To tame this powder,
with its reputation of being hard to manage, Guerlain added Nylon
microparticles to the Ombre Eclat formula and slipped applicators
into its box to help women to produce an expert result.
In 2007, this charismatic eyeshadow inspired Olivier
Échaudemaison to create an ultra-luxurious Ombre Eclat
Duo & Liner palette. A woman would be reluctant indeed to
close this magical box and hide those rectangles of glorious
32
5-Rouge ANG 27-03.indd 32-33
colour from view, if the case itself were not so exceptional.
Like a jewellery box featuring white gold outside and black
gold inside, it was designed by Hervé Van der Straeten
and produced using an innovative process of reverse
metallization. The effect is stunning–patrician lines and
supreme elegance–yet unobtrusive: the intention is not
to surpass the beauty of its owner, but to enhance it.
33
31/03/08 14:56:35
GUERLAIN 180 YEARS
Make-up rouge
Terracotta Loose Powder Kohl:
the new Pyrommée
Loose powder kohl is a natural choice for
the Terracotta line. Kohl was first used
in ancient Egypt for its prophylactic properties
and because it protected the eyes from
the rays of the sun refracted by desert
sand. No culture can resist a substance
that gives the eyes such depth and mystery,
with those of the Maghreb leading the way
and others following. A new interpretation
of Pyrommée, the Terracotta Loose Powder
Kohl contains concentrated pigments to ensure
superior staying power. With its built-in applicator,
even beginners can create professional results and
produce a lush impression of Oriental beauty in
a single stroke. For the summer of 2008, it has traded
powder for metal for an even more femme fatale effect.
available in highly graphic shades. This fluid texture, seeming
to flow from the end of an artist’s brush, wears flawlessly.
In 2008, Olivier Échaudemaison enhanced this line of Eyebrow
Pencils with textures formulated with plant-based waxes
and ingredients derived from fruit, striking a perfect balance
between firmness and silkiness, so the pencils blend perfectly.
The brows look very expressive and amazingly natural.
Character traits
Fortunately, Guerlain has never turned its back on its past.
At a time when eyeliner dominates the catwalks, make‑up
by Guerlain has preserved the colour black’s powers of attraction,
not to mention a rich spectrum of expression. Each to
her own. To shade lightly or smudge carefully for a smoky
effect, the pliant texture of the Eye Pencil is a delight. For sharp
definition, opt for Eyeliner, marvellous for its precision and
34
5-Rouge ANG 27-03.indd 34-35
31/03/08 14:56:40
GUERLAIN 180 YEARS
Make-up rouge
Mascaras that work wonders
At Guerlain, it is as if even the smallest flutter of the lashes
were supervised by an expert coach who monitors, supports and
enhances even the smallest movement. The coach prepares, trims,
separates, stretches, curves, curls, rolls, flexes, strengthens and
builds without demanding the slightest effort. The mascara‑coach
is assisted by high-tech brushes, new beauty mechanisms
supercharged with high-performance formulas and sophisticated
textures. It has become child’s play to separate, lengthen and curl.
The eyes have it
Guerlain gives lashes an interstellar dimension with Maxi Lash,
which combines a 3D demonstration of the Lash Maximizer
complex with the push-up effect of an almond-based biopolymer.
36
5-Rouge ANG 27-03.indd 36-37
37
31/03/08 14:56:45
GUERLAIN 180 YEARS
Protecting a valuable asset
While technology brings many benefits, it should not be
forgotten that beauty is delicate and vulnerable. Guerlain
has always been very attentive to this mystery-enhancing
fringe that looks fabulous dressed in black. Safe inside
its silver tube, Divinora Supercils is set to share its
riches, ready to fortify, replenish, stimulate and repair,
protecting the lashes like a divine bodyguard. Lashes
have nothing more to fear from harsh external stresses,
and are left looking shiny, full, supple and voluptuous.
Twice as stunning
When it comes to beautiful eyes, what do women want?
Everything! They want length, volume and curl, not to
mention high-precision definition. To obtain great results
on all lashes–upper, lower, long or short–in 2008
Olivier Échaudemaison developed a new lethal weapon
by the name of Le 2 de Guerlain. It takes the form of two
very professional brushes in a luxurious gold case designed
by Helle Damkjaer, containing an exceptional combination
of polymers. Moulded with generous contours in a flexible
material, the first brush lengthens, separates and curls
to spectacular effect. The second has shorter bristles and
is bevelled at a 7° angle, perfect for ultra-precise application
to long or short lashes. The effect is spectacular and
natural‑looking, for glorious eyes that spell double trouble.
38
5-Rouge ANG 27-03.indd 38-39
31/03/08 14:56:47
photographiC CrEdits
Guerlain Archives
Pages : 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 19, 20, 28, 29, 30
Michelangelo di Battista : page 27
Liz Collins 21, 32
Patrick Paufert : pages 22, 23, 24, 25, 26, 31, 33, 34, 35, 36, 38, 39
Fabien Sarrazin : pages 20, 21
Sølve Sundsbø : page 37
5-Rouge ANG 27-03.indd 40
31/03/08 14:56:48