On her experience with makeup on camera:“The first makeup artist that I really worked with was on a film called An Impudent Girl. I observed-very, very much-but I didn’t try things until much later on.” Mascara, I didn’t really see her put any on. Blush was always something she did with her fingers. She would usually put makeup on in a taxi, bringing me to school. It wasn’t very individualistic, so she regretted that. On beauty wisdom from her mother:“She always complained that she had put on too much in the ’60s, that the eyeliner was too strong, that every girl looked the same. You can hear it in her music, see it in her acting. “There is a thread of emotion in everything Charlotte creates. Understatement is an unusual prerequisite for a cosmetics contract, but François Nars found himself drawn to Gainsbourg’s “captivating mix of presence and humility,” which he encountered firsthand while photographing her for an upcoming project. I know who I am, I know where I’m comfortable.” Over the years, she reflects, “I was able to ask people not to try to change me too much. She traces that self-awareness back to age 12, when a budding film career first put her in the hands of makeup artists (later that year she made her musical debut in a duet with her late father, Serge). “I learned early on what suits me”-a smudge of black liner, a slight flush-“little touches“ that enhance, rather than change, her angular features, she explains. The 45-year-old is quietly radiant, with bare skin and a guileless gaze set beneath a pair of full-stop brows.
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