Beauty & Balance

Huda Beauty’s Naughty Nude Palette Includes a Brand-New Shadow Formula

On New Year's Eve at approximately 11:59 p.m., I made a promise to myself that I was going to steer away from neutral eye shadow palettes in 2020. Not because there's anything wrong with them, but because I already owned 27, and the time had come for me to start playing with color. Despite all the bullshit this year brought us, I did a pretty good job of sticking to that goal, however, I back-tracked when the new Huda Beauty Naughty Nude Eye Shadow Palette arrived at my door.

Although I do admit I'm a sucker for any good neutral palette, the Naughty Nude palette is different. It's more than just a beautiful lineup of shadows and innovative formulas (we'll get to that part later). This palette is all about being physically nude with yourself and embracing your personal sexuality.

Huda Kattan, the founder of Huda Beauty, exclusively tells Allure that she wants this palette to make people feel empowered. While growing up in the Middle East, Kattan struggled with expressing herself in a conservative environment, which partly inspired Naughty Nudes. "I want whoever buys this palette to feel in love with themselves, their bodies, their sexuality, and their minds," she says. Kattan adds that her original New Nude palette and the new Naughty Nude palette were both created to help redefine what "nude" means — it's not just a shade range.

The Huda Beauty founder also feels that right now, given the current state of the pandemic, this palette can help provide the self-love 2020 has made increasingly sparse. "It's our mission to give everyone the confidence to love themselves inside and out and to really feel empowered to be their sexiest self," she says.

With all that being said, let's get into what makes this palette hit so different.

If you've tried Huda Beauty's eye shadow formula before, I don't need to sell you on how good it is. But if you haven't, let me be the one to say that these shadows are creamy and blendable; the fall out is minimal, and the different textures are every eye shadow lovers' dream. This beauty includes eight mattes that are buttery and extremely pigmented, five metallics that can add subtle or out-of-this-world sparkle to the eyes, four marbled creams that have reflective hues, and one never-before-seen pearl-gloss hybrid, a unique formula that adds a glass-like glow to the lids. According to Kattan, that formula took two years to finalize (it was so worth it).

When I first got this baby in my hands, there were three shades that jumped out to me most: Provocative (a marbled lilac), Slippery (a pearl-gloss hybrid that's made of a clear gel and berry-colored pigments), and Shameless (a baby-pink metallic). When I first dipped into the palette, I realized that the best way to apply Slippery was with my fingers. The jelly texture works on a brush, too, but to get that extreme wet look, your fingers are the most effective. To give you a visual, here's the entire palette swatched on my arm:

Left image top to bottom: Filthy, Passion, Shameless, Please Me, Hypnotic, Hard, Untamed, Irresistible, Flower Power, Rough.  

Right image top to bottom:  Spicy, Arouse, Slippery, Tantric, Naughty, Provocative, Desire, Juicy.

Here's how I used it. Because I wanted to create a really fall vibe with the palette, I focused on the more brownish shades, and I dipped into a few of my favorite pans to create this look:

To achieve it, I first dipped into the shade Juicy, a neutral matte, and dusted it on my entire lid as a base. Then I deepened it up with Arouse, a burnt orange, working that into my crease and outer corners. To add some sparkle, I patted Flower Power, a yellow-gold marble, all over my lid. I darkened my lower lash line with Arouse to match the top and added more glitter in my inner corner with Tantric, a golden metallic.

This palette is absolutely stunning, and it should be on everyone's vanity, but the story behind it makes it even more special. That being said, did I break my New Years' resolution? Yes. Was it extremely worth it? Hell yes.

The Huda Beauty Naughty Nude Eyeshadow Palette, $67, will be available starting November 1 on

All products featured on Allure are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.

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Beauty & Balance

Jackie Kennedy’s and Marilyn Monroe’s Stylist ‘Mr. Kenneth’ Portrayed in New Book

Before first name-only monikers became a thing, there was “Mr. Kenneth.“

For decades until 1990, the New York City hairstylist attracted a cadre of well-known and well-heeled clients. Credited for giving Jackie Kennedy her bouffant and Marilyn Monroe her golden sweep, he also tended to socialites and personalities like Lauren Bacall, Babe Paley, Gloria Vanderbilt, Lucille Ball and Margaretta “Happy” Rockefeller. Famously discreet and a gentlemanly professional, he earned theIr full trust and developed a following from not only the wives of powerful men, but also their husbands’ mistresses, according to Giuseppe Longo, the author of the new Schiffer Publishing book “Mr. Kenneth: Shear Elegance.,” due out October 28.

Born Kenneth Battelle in Syracuse, N.Y., he died at the age of 86 in 2013. Nicknamed the “Secretary of Grooming” in the Kennedy White House, the stylist wanted women to look like themselves with hairstyles that they could also manage themselves. Friendly with someone who worked for Battelle, Longo would periodically “take a break from his uninteresting corporate job in the neighborhood” to drop by Kenneth’s salon at the Waldorf Astoria Hotel salon. “He truly had a part in some of the most historic moments in society whether it was Marilyn Monroe singing “Happy Birthday, Mr. President” [to John F. Kennedy] or her last sitting [with photographer Bert Stern in June 1962],” Longo said. Battelle also styled the cast for the 1967 “Valley of the Dolls” movie.

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Established as he was in the upper echelons of society and in the pantheons of fashion publishing and photography, the stylist never took himself too seriously, according to Longo. “Putting the ‘Mr.’ in front of his name, made it too formal. For him, he was just ‘Kenneth,.’” Longo said.

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Unlike the highly sculpted “haute coiffure“ creator Alexandre de Paris, Battelle wanted his ladies’ hairstyles to be freer and “to have a little more swing,” Longo said. “Kenneth always said, ‘I never wanted a client to leave my salon looking like she came out of a hair salon.”

Before finding his way in New York City, Battelle tried to get started in a Miami hotel salon in 1949, which was the place to be for hairdressers at that time. After eight months there, he boarded a New York-bound flight with $8 in his pocket, Longo said. Within a few days, he walked into Elizabeth Arden’s Fifth Avenue salon, did a tryout on a model and was offered a job — in Louisville, Ky. Infuriated by the prospect, he found the courage to march into Helena Rubinstein’s salon, requested a tryout and interviewed. “From there, it was history,“ Longo said. “It’s an incredible story of how a small town USA boy ends up going to New York City and really rises to the top. Kenneth wasn’t just a hairdresser. The ladies, who walked through his front door, were part of historical moments like Truman Capote’s “Black and White Ball,” Longo said.

While working at Helena Rubinstein, he first encountered Kennedy as a substitute stylist, since hers was home sick. He suggested to the then wife of a senator that she should grow out her shorter choppy Italian-style cut, and over time she did. Never one to give clients trendy cuts, Battelle preferred to analyze a woman’s hair, face and proportions before recommending a style.

Following his run at Rubinstein, Battelle joined milliner Lilly Daché, running the salon in her namesake emporium in the late Fifties. Kennedy was among the women who followed him there. Shrewd enough to see that he was decimating the hat business with his easy-care hairstyles, Daché recruited him to buoy her business. “It was funny. When she was furiously constructing hats on the top floors, he was destroying the need for them on the bottom floor,” Longo said. “For him, hair was to be like fabric. It should be soft. You would want to run your hands through it. For him, it was less about beauty and artistry, it was a craft.”

Battelle was the go-to stylist for legions of photographers — Irving Penn, Stern, Milton Greene, Richard Avedon, Norman Parkinson, Eve Arnold and Karen Radkai among others. He also tended to models like Cheryl Tiegs, Missy Bancroft and Jean Shrimpton for shoots led by pioneering editors Diana Vreeland, Babs Simpson, Polly Mellen, Gloria Schiff and Consuelo Crespi. “It was name-dropping to the extreme — the fashion photographers he worked with, the magazines that he worked with and all the famous editors he worked with,” Longo said.

The irony being that Battelle was never a name-dropper, which was why wives and their husbands’ mistresses enlisted his services and his confidence. “A younger generation doesn’t fully understand his success. Now we live in the social media world where everyone tells everything, and we know all about it online. Kenneth really succeeded when you had to have all the stars aligned,” Longo said. “Even the salons that he built — the first was a five-story townhouse on 54th Street — were so staggering and beautiful. The likes of those will probably never be seen again in our lifetime.”

However gilded his life would become, it didn’t start out that way in Syracuse. After his shoe salesman father left his mother, Battelle became the breadwinner for her and his four sisters. He sold hot dogs and Coca-Cola at the baseball stadium and later operated a grains elevator. After being thrown into the working world at such a young age, he learned about the importance of human interaction, dedication, maintaining a strong work ethic and earning enough to pay the bills, Longo said. He also developed an amazingly sarcastic sense of humor that was so dry at times other people would miss the punchline, the author said.

Years ago, Longo presented his idea for the book in a letter to Battelle with the first 40 questions he would ask, and the two men later discussed the prospect. In step with the stylist’s tight-lipped reputation, the book does not dish about his celebrity clients or the scandals and hardships that engulfed them. Theorists and conspiracists will find no new intel about John F. Kennedy’s assassination or Marilyn Monroe’s death.

Longo said his subject never spoke of Kennedy or Monroe even though he was a confidante to both women. A few days before her death while out on a drive, Monroe stopped on the side of the road to phone Battelle just to hear his voice, Longo said. Battelle was also at the White House the day before the Kennedys flew to Texas for what was a fateful trip. Battelle’s account of how a publicist spilled Champagne on Monroe at the Chicago premiere of “Some Like It Hot” and accidentally made her dress transparent is as revealing as the book gets.

Noting how Battelle was the first hairstylist to be featured on a magazine cover, and the first to write about hair care in Glamour, Longo said, “He may seem like a person of yesteryear. But for anyone today who is studying hair or has a fascination with hair, beauty and fashion, you really should have an idea who Kenneth was. He freed hair and obliterated the hat,” Longo said. “His hairstyles are so beautiful, elegant and relevant to today’s society.”

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