A retro cat eye that exudes both sophistication and sex appeal.
Written By Jess Basser Sanders
Photography By Alex Cayley
Makeup By Rachel Goodwin
Hair By Mara Roszak
Nails By Karen Guitierrez
Styled By Elizabeth Stewart
In a game of free association, mention the name January Jones and most will reply, “Betty Draper.” Jones’ most famous role brings to mind a certain kind of 1960s glamour, that of the always immaculately put together housewife (even when she’s in her housecoat). For her VIOLET GREY cover shoot that required the former model to transform into six different beauty test looks, Jones’ longtime makeup artist, Rachel Goodwin, invoked another side of the ’60s — that of the bombshell with the over-the-top eye. Recalling Julianne Moore’s melancholy glamour-puss in A Single Man, Goodwin created an eye that was certainly reminiscent of the bygone era, but with something slightly askew and imperfect. Goodwin walks us through the look, below.
Makeup by rachel goodwin
Goodwin began by sketching out Jones’ brow bone with a cream shadow, using an angled brush and extending out past the end of the brow to give a loose shape. She skipped a brow-defining look to focus more on the dramatic eyeshadow effect.
To emphasize the crease of the eye, Goodwin used a tapered eyeshadow brush to apply the darkest gray shadow from the Chanel Mystere Quadra Eyeshadow palette, buffing the pigment up toward the brow bone to create depth. She then relied on her fingertip to soften and flesh out the color, giving the shadow a hint of lived-in imperfection.
To keep the lid and brow clean, Goodwin used a cream-colored eyeliner to sketch out the eyelid and the region directly under the eyebrow. The warmth from her fingertips allowed Goodwin to press the color onto the eye and smudge it ever so slightly out into the gray eyeshadow.
Goodwin begins by following the upper lash line and placing a dot between the outermost corner of her lash line and the end of her brow (this creates an end point for the flick). Using a small angled brush dipped in cream eyeliner, begin drawing along the upper lash line, ensuring the line is thicker toward the outer edge. Rim the lower lash line with pigment, keeping the line a little thinner and without connecting the top and bottom lines. Goodwin applied the cream-colored pencil in the sliver of space between the upper and lower lash lines, pressing the pigment in with her finger again to give the eye a modern edge.