Last evening, Hollywood celebrated Moonlight, then La La Land, then Moonlight again at the 89th Academy Awards. It was a big night for Emma Stone and Warren Beatty (different reasons), and it was a big night for Glossier, too—last night, we soft launched our new cream blush Cloud Paint on the faces of some invited guests. You can smear it all over your cheeks as soon as it drops later this week. In the meantime, the makeup artists from the ceremony and very fancy subsequent after parties share how they used it. And what else they used, too:
By Ashunta Sheriff for the Academy Awards ceremony.
“The look was inspired by old Hollywood and Diahann Carroll—very glamorous and Jessica Rabbit-sexy. Before awards shows, I always Dermaflash to exfoliate and get rid of that little bit of peach fuzz that all women have. It just makes the makeup radiate more. Then I use Glossier Priming Moisturizer, which is amazing to prep for makeup. I use a little bit of Kate Somerville Goat Milk Eye Balm because she’s been doing so much traveling and it helps depuff. For makeup, I started with my Perfect Blend Stick in Tan and set it with MAC Mineralize Powder and St. Tropez’s 3-in-1 Bronzing Powder. Around her eyes, I used Danessa Myricks Enlighten Halo Powder to highlight, with some Urban Decay 24/7 Pencil in Mainline, which is a bit blue. For lashes we used House of Lashes Iconic Lashes with MAC False Lashes Mascara on top of that. On her brows, I used Damone Roberts Minx Eyebrow Pencil and his Peach For The Stars Eyebrow Highlighter under the brow bone. For blush, I used Glossier Cloud Paint in Dusk up on her cheekbones with some more Enlighten Halo powder. Body is by St. Tropez as well, and I gotta go because my plane to Chicago to finish Empire is about to take off!”
By Mary Phillips for the Academy Awards ceremony.
Right when I saw the white dress, I immediately thought of soft, sexy bronze and nude colors, but with more of a golden undertone, in honor of the Oscars. We used La Mer Skincolor Foundation in a variety of shades. I’m big into skin in general and especially skin makeup that looks like skin—if you’re searching for the holy grail, that's it. I applied that with the La Mer Foundation Brush, which is almost more of a blush brush, and then I did the cheeks with Glossier Cloud Paint. I mixed Dusk and Beam—Dusk is a dusty rose base, and Beam is coral, which I added for dimension. Then I used Becca Shimmering Skin Perfector over the cheeks and Tom Ford Bronzing Powder in Terra along the hairline, cheeks, nose neck and those legs. A great literal sun-kissed bronzer, with a very slight sparkle that’s perfect for a red carpet. I know the obvious answer is that her eyes were the hero, but I got to say, it's really the skin. Her skin probably took the longest, overall. The other thing I used was Olly's Goodbye Stress Vitamin—but not for Chrissy. Those were for me." [Laughs]
By Molly R. Stern for the Vanity Fair Oscars after party.
"I wanted Reese to have a strong eye with a glamorous glow—something edgy with something soft, to match her sweetness. The hero of the look was actually somewhere in between the cheeks and the eyes. That's the contrast. I warmed her skin with Chantecaille Future Skin Foundation, before enhancing the hollow of her cheek with Chanel Soleil de Tan and topping the bone with Chantecaille Liquid Lumière in Sheen. Then to finish, I added a pop of soft peachy glow to the apples of her cheek using Glossier Cloud Paint in Dusk. I loved working with Cloud Paint—it's easy to blend and gives the perfect flush of choice. I based her eyelids with a creamy pewter shadow all over the lids and then pressed in Nars Stud to set the burnt silver glow. Then lined her eyes top and bottom with Elizabeth Arden Liquid Liner in Dark Valentine, softening that with Nars Sycorax. Her lips are Tom Ford Carriacou, to finish."
By Jamie Greenberg for the Vanity Fair Oscars after party.
"For the vibe tonight, we pulled inspiration from that Italian, Dolce Vita lifestyle—at first, we were going to do a nude lip, but then we just decided to really go for it with the Sisley So Intense Eyeliner cat-eye flick, and the lips in Glossier Zip with Sisley's Phyto-Lip Twist in Cherry. And on a night like tonight, which is so long, it’s all about having gorgeous skin and products that melt well into the face. All the textures we worked with tonight were wet… Hydration was the star of the evening. I applied Glossier's Priming Moisturizer with Sisley’s new Fluid Foundation Brush to plump the skin. Next I buffed on Glossier's Perfecting Skin Tint to give her a glow along with light coverage. I then applied the Glossier Haloscope in Topaz on the cheeks, finishing the cheeks with a blend of Glossier's new Cloud Paint in Puff and Haze to get a true rosy hue. It’s nice because you can play around with the product before it sets—and I actually wear it myself now instead of foundation. It gives me an awake look when I dab it on my cheeks and a little on my nose. I came over and Rashida was like, 'You look so fresh!'"
By Vincent Oquendo for Elton John's Oscars viewing party.
"She has this monochromatic look to her, and I was like, 'Wouldn't it be great to go warm with her makeup?' Before I put on any makeup, I used a Decleor Aurabsolu Hydrogel Mask, which comes in two parts. I used that while I unpacked my kit to give nutrients. Then I prepped skin with the Soothing Face Mist, which is calming and soothing, and then I used Dr. Sturm's Hyaluronic Acid. That shit is beeeyond. It's antiflammatory, so it soaks it in two seconds. I used the Priming Moisturizer before Charlotte Tilbury Magic Foundation because she wanted her skin to look glossy. So the skin is hydrated and prepped and the foundation applies evenly. I'm so nutty about skincare, but that's the thing about my girls—skin is always on point. I did Benefit Hoola under her cheeks to define, and then I used Cloud Paint in Dusk on the apples of her cheeks. I used a fluffy brush and dusted it on the apples of her cheeks—I applied down and back, blending it into the contour. For her brows, I drew in little hairs with the Hourglass Arch Sculpting Pencil and finished with Boy Brow in Brown which is ashy enough. It's not a hard brow—that's not flattering. You want to be able to manipulate the brow and make it natural. Fluffy, yes. It could be said for the whole makeup look. All the textures are soft and velvety."
By Allan Avendano for the Vanity Fair Oscars after party.
"Nina's dress is so epic that we decided to let it speak and have her makeup be subdued—basically enhancing her beauty, and giving her delicious dewy skin. We did that by applying Armani Luminous Silk Foundation with a Beautyblender to even out Nina's complexion and Nars Creamy Radiant Concealer in Custard to brighten up under the eyes and high points of her face. Then I applied Glossier Cloud Paint in Dusk and Beam, mixing the two colors, dabbing them onto the apples of the cheeks, and buffing them into place with a Beautyblender. I dusted some Lorac Porefection Powder on the sides of the nose, T-zone and on top of the Cloud Paint to set it. I gave Nina's lids a very soft sparkly smoke with bronze and gold tones using Estée Edit Metallishadow in Solar Blast and Scarlet Eclipse. Mascara is two coats of Charlotte Tilbury Legendary Mascara on the top, none on the bottom, with Artémes' Intricate Lies Lashes. I prepped Nina's lips with Glossier's Coconut Balm Dotcom, applied Charlotte Tilbury Lip Cheat in Pillow Talk, and then filled in her lips with Hourglass Girl Lip Stylo in Idealist for a natural finish. That's all of it."
By Mélanie Inglessis for the Vanity Fair Oscars after party.
"We did a lavender smoky eye—which you can kind of see in the photos. She had the dress that was quite sexy and edgy, and we thought a smoky eye in lavender and burgundy tones would complement it. It's very glittery. On the eyelid we used Laura Mercier's Caviar Stick in Orchid, and then over that, Stila Kitten. On cheeks, Glossier Cloud Paint in Dusk. I love it. It's punched with color, but then it's kind of a gel skin feel texture. I used it just on the apple of the cheek, with my thumb, actually, I used a little bit and pressed it on and blended it upwards. I did the whole thing while she watched the Oscars—I clamped up my light on the TV. She was like, 'I have to watch them,' and I was like, 'OK, fine with me!'"
—as told to ITG
Photos via Getty. Cloud Paint is on the horizon—sign up to be notified when it drops here.