Exclusive: Euphoria’s Makeup Artist Breaks Down the Show's Top 4 Makeup Looks. A Glittery Guide to Euphoria’s Over-the-Top Eye Makeup. 12 Of The Most Incredible Makeup Looks From ‘Euphoria.’ Elle Australia. How to Do Euphoria Makeup for Halloween, According to the Show’s Makeup Artist. Euphoria-Inspired Makeup Ideas For Halloween This Year. 29 of the best makeup looks from HBO's gritty teen drama ‘Euphoria.’ Insider.Īllen, M. Euphoria’s Head Makeup Artist Shares Her Tips for Making Glitter Last. The tears were there to begin with.Ībelman, D. “If someone were crying, how would the tears fall?” For the teens who understand Euphoria, maybe their tears don’t need to fall. Data concerning teenagers' reactions to Euphoria suggests that this is the case (Kaufman et al., 2021, p. Perhaps these makeup tutorials on how to produce glitter tears shows that teens understand the sadness of social media and the dangers of creating a false persona to meet the web’s new standards. Unlike the process of the tears tearing off the makeup, the beauty influencers show how to paint them. This imitation of crying begins without the eye producing the tear. Part of this revolution is unconventional as there are many cosmetic tutorials that show how to emulate “glitter tears,” a new look. Her glitter tears appear (see slide 2).Įuphoria kickstarted a “beauty revolution” (Malivindi, 2022, n.p.). “If someone were crying, how would the tears fall?” When the tears stream, they expose the confidence as fake, which according to Marta/Maddy is “90% of life.” At many times in Euphoria, Maddy, the character who best understands the idea of confidence in the text, cries. Marta is showing Lexi how to mask herself.Īnd the thing about confidence is no one knows if it’s real or not.Īs Marta/Maddy applies Lexi’s makeup, she explains to Lexi that this ritual is a part of creating confidence. In the episode, “The Theater and Its Double” (2.7), Marta (a character who represents Maddy in Lexi’s school play, Our Life) applies makeup to Lexi’s face. And it has become even more so as quality TV mirrors American teens' social media and their personas–their ersatz identities that they create to adapt to their new reality. In this way, the makeup in choice TV has not been simple, but intricate. Since The Sopranos (1999-2007), HBO has been invested in producing premium television–TV that mirrors cinema (Nochimson, 2019, p. For much TV work the make-up and hair requirements are simple and straightforward” (2003, p. Jan Musgrave states “For make-up staff there is a difference between TV and film. And in that process, they leave a trail of truth. Ironically, the makeup helps unmask this. The other characters' insecurities are revealed through Rue’s perspective. This is emblematic of the social media age–the era in which Euphoria exists. From the start, Euphoria advertises the amalgamation of sadness and artificiality. Euphoria’s season 1 teaser poster showcases Rue’s famous glitter tear (see slide 1). They are pure moody expression” (Gonzalez, 2021, n.p.). The tears clean off the veneer of assurance–a barrier that the teens put up to assert that they are confident in a world where everyone is looking at them, online and offline.Īccording to the show’s makeup artist, Doniella Davy, “Rue’s looks are not about perfection. In Euphoria, the characters’ tears display their vulnerability. In dominating the glam look, the players can own the gaze that is embedded in narrative media (Mulvey, 1975). The cosmetics can also communicate self-love and empowerment (Twersky, 2022). It allows them to hide behind a façade– “belie abuse” (Guthrie, 2019, n.p.). Characters wear glitter for various reasons. Their tears stream down their face and in that process, the tears mix with their glitter to form “glitter tears” (Abelman, 2019 Ahlgrim, 2019 Allen, 2020 Gonzalez, 2021 Handler, 2019 Jahns, 2019 Loane, 2022 Peters, 2021 Santoro, 2022). At many times in Euphoria (2019-present), the characters weep. “If someone were crying, how would the tears fall?” asks Jan Musgrove in her book, Make-up, Hair and Costume for Film and Television (2003, p.
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