• Images courtesy of Chanel Beauty

    Backstage at Chanel Beauty Autumn-Winter 2024/25 Ready to Wear

    Written by Chanel by Freya K

    MAKE-UP STEP BY STEP

    COMPLEXION
    Apply LES BEIGES WATER-FRESH COMPLEXION TOUCH with the brush 2-IN-1 FOUNDATION BRUSH FLUID AND POWDER N°101.
    Correct the imperfections of the face using LE CORRECTEUR DE CHANEL with RETRACTABLE DUAL-TIP CONCEALER BRUSH N°105 where needed.
    Mix the two colors of EXCLUSIVE CREATION ROSES COQUILLAGE and apply on the apples of the cheeks using the BLUSH BRUSH N°110.
    Sweep loose powder POUDRE UNIVERSELLE LIBRE onto T-zone with the POWDER BRUSH N°106.

    EYEBROW
    Brush the brows with DUAL-ENDED BROW BRUSH N°207.
    Fill in with STYLO SOURCILS WATERPROOF.
    Apply le GEL SOURCILS in TRANSPARENT to add a little depth to hairs.

    EYES
    Apply a line of color of STYLO YEUX WATERPROOF, starting from the internal corner of the eyes and drawing along the top lash lines.
    Choose different colors according to the look: Grey with STYLO YEUX WATERPROOF 42 GRIS GRAPHITE, Blue with STYLO YEUX WATERPROOF 82 BLEU ABYSSE (new) and/or LES 4 OMBRES 78 RIVAGE (new), Coral with LES 4 OMBRES 88 CORAL TREASURE (new), Pink with STYLO YEUX WATERPROOF 54 ROSE CUIVRÉ, Gold with STYLO YEUX WATERPROOF 48 OR ANTIQUE.
    Apply a lot of mascara LE VOLUME DE CHANEL 10 NOIR on the upper eyelashes only.

    LIPS
    Contour the lips with the LE CRAYON LÈVRES 158 ROSE NATUREL, using the DUAL-ENDED LIP BRUSH N° 300 and lightly apply ROUGE COCO BAUME 932 ANÉMONE or ROUGE COCO BAUME 934 CORALLINE all over, directly from the stick.

    NAILS
    Prepare the nails with a coat of LA BASE CAMÉLIA.
    Set up with LE VERNIS 125 MUSE or 127 FUGUEUSE or 155 ROUGE NOIR or 175 SKIEUSE or 177 SUN DROP (new), according to your look.
    Fix and add shine with LE GEL COAT.
    Moisturize the hands with LA CRÈME MAIN.

  • photography Daniel Camerini

    Linea Matei’s First Solo Show Is a Tender Triumph

    Written by Rosel Jackson Stern by Filippa Finn

    When I walk into Linea Matei’s first soloshow Ser Du Mig, I don’t know what I’m looking at. Humanoid polyester sculptures with rounded edges in varying champagne colours sit in a circle with an empty chair among them. Each sculpture is stuffed with wadding and set up as though I’ve just walked in on an otherworldly AA meeting — alien yet somehow familiar.

    It’s opening night on a chilly February evening at the Stockholm based gallery CFHill. The room is buzzing with onlookers gazing at the circle, in turn watched by more textile sculptures lining the walls around us. The sculptures seem to echo the humanity of the onlookers. There’s an affinity to them as if we’re meeting ourselves from a different dimension. On closer inspection, each sculpture possesses a mirror where the face should be.

    This confronting intimacy is no accident. Having graduated from Konstack in 2022, this encounter is the first solo show of textile artist Linea Matei. She has sketched each sculpture and crafted them using the sewing skills she gained as a child. The subtle depth of their postures has been hard-won through hours of interviews across Sweden with subjects of varying ages, sensibilities and locations. “I wanted to set up the sculptes so that they explored what might happen if the interviewees somehow met,” she tells me in the upstairs rooms of the gallery. “What would happen if these people from wildly different backgrounds shared space?” she asks. The result is not just a cheap imitation of human behaviour, but a life given, reflected and cared for. Each of the sculptures is someone we know, forgotten or avert our eyes from. They are someone we console, someone whose shoulder we cry on. Both disturbing and comforting, there is a warmth to Linea's show born of mature and nuanced practice.

    At the opening, the eerie familiarity seems echoed by my fellow spectators. When I asked one buyer what made them purchase one of them, he smiled and said: “It was something about the [sculptures] confidence and attitude of ‘please take care of me’ that spoke to me. It’s both vulnerable and strong. Like life.“ What has started as an unforgivingly chilly night in Stockholm has blossomed into an unusual display of public tenderness. We meet the sculptures with the sensibility of glimpsing a long-lost friend, only to be confronted by our own faces. For cold and cynical hearts, the show is bright and unassuming mediation on connection. It is confounding, delightful and surprises even the most deadened of viewers into a shared moment of humanity. It’s a benevolence so sweet that it poked my eye upon first seeing the show, equivalent to a stranger picking up on an awkward habit I never thought anyone noticed. Once I’d finished flinching, something inside me melted at the lives lived through these sculptures.

    Linea has done what the best art does: transmutes the world around them to reflect something of value back at the viewer. To do so without becoming a cliché, or overly “sugary” as my grandmother would say, you have to be specific. In this case, the angle of an arm, or weight of a knee becomes the difference between being force fed a message and inhaling the sweet scent of your favourite dish as a child. There’s no clearly discernible moral to Ser Du Mig, a credit to the artist. True to its name, it constitutes a wildly successful exploration of what it means to be seen.


    Ser Du Mig runs until 15/03/2024 at CFHill Gallery in Stockholm.

  • The Altersea Opera: a journey of displacement and belonging

    Written by Natalia Muntean

    A poetic story exploring the tensions between the desire to stay and the need to leave, The Altersea Opera will dominate the Nordic Pavilion during this year’s La Biennale di Venezia. The Pavilion will transform into a dragon ship powered by magical sails filled with stories and mythological water creatures trying to find their way back to their places of origin, conceptualised by the Swedish artist Lap-See Lam.

    The imaginary ship is based on the Floating Restaurant Sea Palace, a Chinese dragon ship built in Shanghai and decorated by master craftsmen. The three-storey vessel served as a restaurant in Gothenburg before becoming a ghost ship at Gröna Lund theme park in Stockholm. Lap-See Lam found it dilapidated and moved it to a boatyard in the Stockholm Archipelago. Now the giant dragon’s head prow will travel from the Arctic archipelago to the Venetian lagoon.

    The audio-visual installation is influenced by various sources, such as the Red Boat Opera Company and themes of belonging, mobility, and generational loss, central to Lap-See Lam’s work. The Swedish artist explores the effects of displacement on people and objects across different contexts and times, digging into the depths of generational loss.

    The work on the 2024 edition of the Nordic Pavilion is led by Moderna Museet in Stockholm. In collaboration with Asrin Haidari, curator of Swedish and Nordic Art at the museum, Lam has invited artist Kholod Hawash (Finland) and composer Tze Yeung Ho (Norway), as well as singers, costume designers, filmmakers, and a certified bamboo scaffold engineer, to contribute. 

    The 60th International Art Exhibition – La Biennale di Venezia will take place between 20 April and 24 November 2024, with the official inauguration happening on the 18 April 2024.
    Photo: Mattias Lindbäck/Moderna Museet

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