NARS Satin Lipstick - Honolulu Honey (Beige) 0.12oz (3.4g)

Product Information

I didn't notice any scent or taste, though there is "fragrance (parfum)" listed in the ingredients--it smelled neutral, not waxy but I just didn't get any scent. haVinG a Look iS noT EnouGh… i fEEL Today, no maTTEr whaT, you don’T rEaLLy SEE GirLS ThaT you fEEL haVE ThE poTEnTiaL To STay and bEcomE rEaLLy iconic. François NarS NARS: Yes. She’s brand-new to me, so I can’t say. She’s got a look, yeah, but having a look is not enough. To me, that’s not necessarily a model. Before you, there were people like Veruschka. Those were models who will stay forever. I feel today, no matter what, you don’t really see girls that you feel have the potential to stay and become really iconic. I’m sorry, but that’s how I feel. NARS: And that’s how I believe we became better and better—me for makeup; you in front of the camera. The more you work and the more you start being molded by the photographer- and by the hair, by the makeup, and discovering new angles, new makeup, and all that—that’s how you built up into being who you are today. But that, to me, is completely gone. I mean, which girl today do you see growing and transforming herself into an icon? There are not many. EVANGELISTA: So when you started NARS, why did you go to Fabien to help create the brand and the campaigns?

EVANGELISTA: Because initially, the rest of the girls were all “show” girls and I wasn’t. I didn’t have a place yet. I wasn’t a “print” girl or a “show” girl. I felt like I was the new one. EVANGELISTA: So what’s your favorite thing to do now? Making makeup? Taking pictures? Working on your campaigns? Or do you love all of it? NARS: Well, now it’s getting quite big. We create a lot of products. After almost 20 years, you also have to be sure that you don’t recreate something that you’ve done already. NARS: Yeah, but Karen is almost also part of . . . I don’t want to say the same era as we were, but right after. NARS: It’s a good one. But I designed this color like I would have designed any other color. I swear I never thought this was a special color.

EVANGELISTA: But you know he gave away prints to so many people. NARS: Well, unfortunately never to me. Hydrogenated Polyisobutene, Synthetic Wax, Polyethylene, Dimethicone, Dicaprylyl Carbonate, Bis-Diglyceryl Polyacyladipate-2, Hydroxyapatite, Diisostearyl Malate, Microcrystalline Wax/Cera Microcristallina/Cire Microcristalline, Hydrogenated Polydecene, Phytosteryl/Octyldodecyl Lauroyl Glutamate, Calcium Sodium Borosilicate, Glyceryl Behenate, Sorbitan Sesquiisostearate, Tocopheryl Acetate, Tocopherol, Passiflora Edulis Seed Oil, Moringa Oleifera Seed Oil, Isopropyl Titanium Triisostearate, Calcium Stearate, Tin Oxide, Simethicone, Bht, Phenoxyethanol, Fragrance (Parfum), Linalool, Citronellol, Limonene, [+/- (May Contain/Peut Contenir): Blue 1 Lake (Ci 42090), Carmine (Ci 75470), Iron Oxides (Ci 77491), Iron Oxides (Ci 77492), Iron Oxides (Ci 77499), Mica, Red 28 Lake (Ci 45410), Red 33 (Ci 17200), Red 33 Lake (Ci 17200), Red 6 (Ci 15850), Red 7 Lake (Ci 15850), Titanium Dioxide (Ci 77891), Yellow 5 Lake (Ci 19140)].

SHEA) BUTTER · ISOPROPYL TITANIUM TRIISOSTEARATE · PROPYLENE CARBONATE · SIMETHICONE · BHT · PHENOXYETHANOL · FRAGRANCE (PARFUM) · LINALOOL · EVANGELISTA: Yes, built in. It’s unbelievable. But there are so many things where I’m like, “No, I don’t remember that”—and they’re, like, big things . . . Actually, I remember the awful things about those early show days because I felt so out of place there. NARS: It actually ended up that Stephanie gave me one of her prints. [ laughs] I have two prints of Stephanie from when we did Egoïste—one where she has a little monkey on her shoulder. EVANGELISTA: It looks good even on pink skin. I have a redheaded friend who looks beautiful in pink. But Orgasm isn’t exactly pink. EVANGELISTA: I apologize because I didn’t know that you could do powder without looking. [ both laugh] But I do remember walking into Steven’s studio for that first shooting with Polly Mellen and you and Oribe.

Light Reflecting Collection

EVANGELISTA: When was the first time that you ever played with makeup? Did you get into mother’s makeup? EVANGELISTA: When I see the way brands name their products now, I want to scream, because you were the first one to come up with these amazing names for your colors, which absolutely describe the color. That was your concept, and I feel like that’s part of what made your products so unique. EVANGELISTA: And you can see that—there’s always so much life in the images. But do you love working with postproduction in your own photography? EVANGELISTA: I can only do Honolulu Honey. [ sings] Honey, where’d you get those eyes? [ both laugh] I love my Honolulu Honey. EVANGELISTA: I thought you were critiquing. I thought I was gonna be thrown out for the knees and the gums.

NARS: Unfortunately, nothing from Penn. I almost got a print that I wanted to buy. It was a print from Worlds in a Small Room—you know, the project with tribes that he had photographed. I didn’t move forward, though, and I regret it so much now. EVANGELISTA: When you work with a retoucher, do you talk to them and tell them what you want? Or do you sit there and guide them, direct them? NARS: As soon as you tell people, “Oh, I loved this time . . .” they start saying, “You cannot be nostalgic.” Well, you know what? I’m very nostalgic—and I don’t care. [ laughs] As much as there are good things today, talking about models now . . . You feel that they are really out there. But are they really enjoying being models? It’s very hard to say. I mean, I could always tell that you loved being a model. You loved being photographed. NARS: You were actually there. I think it was on that shoot in Miami with Steven for Italian Vogue. NARS: It’s really crazy. Bourdin was one of the photographers who really influenced me to become a makeup artist, and I felt that he deserved to be given credit for that. We have purples and coppers . . . I mean, I knew the photographs so well that it was kind of easy to put the whole thing together. His son, Samuel, gave us access to all of the archives, so I was able to use the images as part of it.EVANGELISTA: I know. Finding a name is easy. But matching it with a color . . . The colors are the names that you give them. EVANGELISTA: You know, I would never do that for anyone else. You know what a prude I am. I mean, I had to hold my hands over my boobs when you did my makeup. [ both laugh] NARS: Yeah, but I’d done a couple shootings there for American Vogue, and the editor on them was Polly. I went crazy for Polly. I love Polly. She was so fabulous and such a character. She made me laugh and was also so incredibly talented. And she came from an era that was fascinating to me because she worked with Avedon in the ’60s and all that. So it was a dream. When she said, “You have to come to New York because I want you to work for the magazine there,” I said, “You don’t have to tell me twice—I’ll go and live in New York in a second.” So that’s the reason why I moved. I really wanted to work with those people, those legends. NARS: Of course it’s annoying. It’s getting so hard to find the good names after almost 20 years. I have this little agenda that I’m filling up 24 hours a day with names. So I’m working on it even when I sleep. Sometimes I wake up and write down a name in my agenda. Can you imagine? EVANGELISTA: Did you love working with him during the era when you worked with him, or did you wish you could’ve worked with him in another time?