The Angel doesn’t just wake up like this (ok, maybe a bit).
As Max Factor’s global ambassador, Candice Swanepoel gets to glean makeup tips from the best in the business – like the brands Global Creative Design Director Pat McGrath. When she’s not travelling to far flung locations for a shoot or walking the runway in frilly bits of lace, she’s blending up homemade face masks in her kitchen.
Describe a standard day.
Waking up at 7am, getting ready for work, making breakfast or a quick smoothie. I could be going to the airport, or being on a photo shoot. After work I either spend time with loved ones take my dogs for a walk or do a yoga class if I have energy. I love to be at home if I have a day off, FaceTiming my family, catching up on sleep and organising my days so I can be properly prepared.
What’s the secret to great looking skin?
Regular exfoliation and using a good illuminator. I use a sunscreen everyday which also can give a nice glow.
What are your makeup essentials?
I’m combination/oily so I use Max Factor Facefinity Compact [$31.95, 1800 181 040] and blotting papers to keep the shine in check. I always have on mascara and a compact foundation on me – I’m currently using Max Factor Masterpiece Transform Mascara [$23.95, 1800 181 040] as it helps build big lashes really quickly. I also always have some lip balm to keep lips hydrated and some eye drops.
You’ve worked with makeup extraordinaire Pat McGrath a lot of your career. What’s been your favourite?
I’ve had so many unforgettable moments with Pat. I met her when I first started modelling when I was in Milan doing the make-up looks for Dolce & Gabbana. She took my hand in such a motherly way that I will never forgot that moment. It’s really amazing to work with her through Max Factor after all these years that I have been working and now that I’m at a different stage of my career. I have a very special place for her in my heart. Aside from the person she is, her make-up is the best in the industry. The way she can transform you is unbelievable, it’s an art. It’s beyond make-up.
What’s the best tip she’s taught you?
I’ve taken tips from many brilliant make-up artists, including Pat McGrath. She taught me all about contouring, which when done right can look amazing. It’s really important to find the right colours and shades for your skin tone. What may suit one person, make-up styles or colours, may not suit you.
What other brands do you use?
I’m usually in search for a more natural approach to my beauty products, so using things you would normally find in your fridge, like coconut oil, yoghurt, honey, fresh avocado, persimmon fruit. I started making my own face masks when I was a little girl.
From the widespread rumors about Kate Moss’s cocaine use to clothing lines with ad campaigns that feature a model blatantly sniffing poppers, it’s no secret that drug use and fashion go hand-in-hand. While not all models and scene-y industry types are cocaine fiends (there’s Adderall too, duh), things get turned up a notch during New York Fashion Week, when countless Europeans in panther fur jackets, greased-up hair, and disposable incomes descend on the city to stand next to their equally-terrible New York counterparts at runway presentations and after-parties.
A couple years ago, VICE spoke to a drug dealer about how biz skyrockets during Miami Art Basel, so we decided it’d be a good idea to talk to another dope peddler about putting in work at NYFW. After our regular connects blacklisted us the moment we said “question for an article,” we remembered that our one friend who works in the fashion industry as a modeling agent used to push weight. He works at a top-tier company, and doesn’t want his employers to know he mixed business with shady side hustles, so he asked us to use his pseudonyms “Dick Tracy, Brian Boitano, or Manny Ribera lol.”
VICE: What kind of work do you do in the fashion industry?
Dick Tracy: I’m technically an agent, booker, manager—they’re all the same thing. I’m going on year five. I manage 70 to 90 models, but they’re not all in town at the same time. The biggest show my models are walking at this fashion week includes spots at Calvin Klein and Marc Jacobs. Continue reading
“I just don’t see the sexism in it. I know there’s half-naked women that are shaking their butts. For some people it’s titillating, but for me it just looked amazing.”
From Nicki Minaj’s “Anaconda” to Taylor Swift’s “Shake It Off” and everything in between, 2014 has been the year of the gratuitous glute. But Mastodon isn’t the type of band you’d expect to stick a bunch of asses in their music videos, making the clip for “The Motherload”, from this year’s Once More ‘Round the Sun, somewhat of a surprise. Against a Satanic backdrop, a crew of women twerk in hypnotic slow motion, climaxing with a dance off and a Day-Glo explosion.
We hopped on the phone with the band’s Brann Dailor to get his take on how the video came to life.
Pitchfork: Could you explain the video’s concept, in your own words?
Brann Dailor: Well, there wasn’t much of a concept, I guess. The only concept was we wanted to start off as a sort of parody of a ‘90s heavy metal video. All those videos from the early ‘90s had that same look: some kind of esoteric imagery, sort of out of focus, something creepy or weird. Marilyn Manson, Metallica, Nirvana, they all had the same kind of look to their videos.
We wanted to do that, and I guess I thought that maybe people would be concerned that it wasn’t very imaginative if it was some kind of shitty ‘90s video. Then all of a sudden, twerking started happening, and it kind of went from there. I just wanted to make something that was bizarre—that would confuse people. I also thought to myself, what’s the most bizarre thing, or what’s something people would say completely does not belong in a Mastodon video? And the twerking was sort of what I came up with. I had a bunch of music video ideas but this was the one we were able to do in like a day, because we didn’t have a massive budget and we couldn’t pull off some of the other concepts I had.
We live in Atlanta and we wanted to be kind of all-inclusive and support the hometown. We thought it would be a fun video to make; there wasn’t any high concept, it wasn’t really parody. We weren’t trying to make fun of hip-hop videos. It was a fine line, because I didn’t want it to come off being sexist, so I thought that maybe the females took center stage and looked powerful and had this dance battle. It really blossomed and turned into this dance video, and I was like, holy shit, we have a dance video! That’s amazing. Some amazingly talented dancers showed up, so it turned into something else.
Pitchfork: It seems like there’s been a lot more visible twerking in the last year, whether Nicki Minaj’s “Anaconda” video or Miley Cyrus at the VMAs. Was there any one specific incident that stuck in your mind, or was it more about the general trend?
BD: I don’t think I was super clued in that it was so much of a trend. I didn’t know about the Nicki Minaj video until after. I remember obviously hearing about the Miley Cyrus thing, but it didn’t really have too much of an effect on why. I don’t feel like what we were trying to do was jump on any twerking bandwagon, I guess. We just wanted to put something into our music video that people would probably think, “That shouldn’t be there”, or “Those two things don’t go together, they shouldn’t be together.” I wanted to just put them together because we can.
Pitchfork: How was the casting handled?
BD: I’m not sure. Jonathan [Rej, who co-directed the video with Thomas Bingham] kind of took the ball and ran with it. I’m not really sure how he found all the girls, but basically it came together in about a week and a half, about three weeks ago.
The girls, they had a blast. The most important thing for us was that they were in charge and that they were having fun, kind of trading back and forth dancing. You know? Trying to repurpose something and put something where most people would say it doesn’t belong, but it can.
Pitchfork: Videos that feature twerking always inspire a debate about that fine line between something appropriate and sexism or racism. Did the band actively consider those dynamics during the filming?
BD: Going into it, our main goal was to make fun of that ‘90s kind of video and have it be taken over by this dance video, which Mastodon would never do. We would never put out a dance video; we’re this very serious metal band. But our videos have always been kind of weird. We’re so serious about songwriting, we’re so serious in our lyrics—which are really serious, and are about a really serious thing that happened to me personally.
But if you’re going to make this very high concept, dramatic video, who’s gonna watch that? It’s a music video. For the “Blood and Thunder” video, we got 150 clowns, and people were upset about that. They were like, “It should be Moby Dick-themed! What’s the deal?” We kind of took the music video as a way to round out, because of the fact that we’re so serious on stage, so serious in our music, so serious in our art with our artwork of the record. The music videos were a way for us to put more of our personality into it as far as our sense of humor, or making it twisted somehow, or different, or bizarre, or provocative.
With the video itself, we wanted to make sure that the women that were there were in charge and that they were having fun. They made the video what it is. If it wasn’t for them and their talent and going out and doing flips and splits and just bringing it, it wouldn’t be great. All of them are forces of nature. It was amazing to meet them and amazing to watch them do their thing. There’s a scene where the garage door starts to open, and Khristine Moore, who plays the “queen,” is there. It gives me chills when I watch that, she just looks so awesome.
Pitchfork: There was a column in The Guardian that called the video sexist.
BD: I know! I’m really upset. I don’t know. The last thing that I wanted to do was come on and be defensive, because I don’t feel like I should have to defend it. It’s a music video and it’s really not supposed to be something that gets people this upset because this was really a fun thing that doesn’t really mean too much. It’s not to be taken so seriously.
I don’t know, I just don’t see the sexism in it. I know there’s half-naked women that are shaking their butts. For some people it’s titillating, but for me it just looked amazing. I thought the girls were awesome and talented, and I thought it was amazing to watch. I love when it turns into that kaleidoscope effect thing; it brings the video to a whole new level. But it’s gotten people talking obviously, you know. I figured that would happen, you know what I mean. I knew there was going to be some negativity. But we do that; we’re that kind of band. It hadn’t been done before, and we were kind of looking for something that hadn’t been done before because it’s hard to come by these days.