MAKEUP BY MARIO Master Class Ft. Tips + Tricks

We have strawberry sunset, but you guys are being so dramatic. I don't want that one. I think it's too much. If you guys have questions as I'm working just feel free to kind of shout it out. Say hi to Carmel everyone. She has nothing on right now. I just start out always with brow. Brows frame the face and also, I don't like to have any texture when I'm working on the brows. In fact, I prefer it kind of dry. Also, I'm very excited that Carmel has thin eyebrows because we were in this trend of like thick eyebrows for so many years and right now thin eyebrows are really it. What I do in the beginning is sort of studying the face, the architecture of the face, the bone structure and how I can create harmony, how I can create symmetry, how I can create balance. So I'm gonna start out with the Master Pigment Pro brow pencil in Classic Brunette. A little bit to the outer corner. Part of my signature brow technique is definitely very very minimal filling in right here. I always want especially right where it starts I want to be able to see the hairs and I want to be able to see through to the skin and then as I go out right in this area where I'm lifting and elongating that's where I like it to be just slightly deeper. Like if the brow starts a little bit more sort of on the outer corners I'll fill in just very softly, but her brows kind of start in a perfect place. So it's so funny because when I started doing makeup the thin brows were in and now they're back in. Everything goes in like 20-year cycles. I also don't like when there's a exact shape here so I don't like it to be too rounded here and I don't like it to be too squared. So I just kind of try to make it as natural and effortless as possible. So I'm gonna start with Loose Powder. This Real Skin Soft Blur in Fair Pink. It's the first shade number one and I'm just gonna set a little bit before we start with eyes. I'm also going to start with our liners. So this is the shade Perfect Brown. You can see it does have a little bit of a deep sort of black undertone in it. And the first step that I always do, well not always, most of the time I do a tight line on the upper on the upper rim of the eye. So this is going to define the eye obviously, thicken the lashes. This step may mean that I could use less shadow or may mean that I could use less of a liner or lash, right? And so I try to do as much of these sort of steps that are not so literal to give me that effect and that definition without giving me the look of makeup. I just love a more natural aesthetic in terms of shades and balance and tones and the harmony. Do we want neutrals or original? The gray? No. Also if you're... No, I love the gray. I don't mind doing the gray. What I was about to say was if you're expecting like a like a 2018 Mario glam, that's not today. It's actually harder to do cleaner natural makeup. I think also just her features are so beautiful that it's almost like I don't want to mess them up with makeup. I just want... I want to enhance everything. I just don't want to overpower her. I like to kind of set the shape of the eye and then do the liner. I like to do the shadow and then I like to clean up and then start fresh with the complexion. It's like this whole sort of push and pull of like trying to edit myself to not put too much on. This formula did take quite a long time because the Master Mattes, the original, is inspired by human skin tones. My sort of shade benchmarks were not traditional eyeshadows. They were more concealer and foundation. Historically, I would always start with concealer, foundation on the eyes and deeper tones to shape it because I just feel it's more natural and that's how the Master Mattes original was inspired. Now I'm going to go in with the shade 8. This is my favorite from the original. This row here would be for my deeper skin tones. This is my like medium skin tones and then light. But then also for deeper skin tones that I'm working here, I'll use these to highlight. For medium, same thing. So they all kind of work together. And then I'm just kind of brushing this up into that brow area. Sometimes if you have very close set eyes, this is not going to work because what this is doing, this is kind of pressing this bone right here and it's kind of cinching or softly sculpting this bone as well, which later then we will then kind of bring it down into the nose. But I think that this particular step that I'm doing right now is probably one of the most overlooked makeup steps, I think, in especially I would say like in the social media age. So I'm just going to go in here just a tiny bit underneath. I'll probably add more later. But I'm going to just mix in shade two and three. I never touch the skin unless I hit it on my on my hand or arm first, right? Because I like to build in soft layers. So for highlighting this brow, obviously I'm doing it with a matte shade. So it's just very natural. I tend to not like to bring the highlight all the way down. I like to kind of keep it more on this, the highest point of the brow, which is here. I'm going to try to keep this very thin because I don't want to like cover a large, large chunk of the lid with liner. I want to just kind of define beautifully and pop her beautiful eye color. And then as I go into the center and to the inner corners, I want to stay as thin as possible. For years, one of the liner techniques I did more so than other ones is where I would line and then I would blend. The pencil is inspired by that. Basically, it has a little brush on the end with this kind of unique shape. The hairs are quite dense and they're not like incredibly soft, but that's on purpose because I don't want it to drag when you're blending. Apply it sort of messy where you don't have that pressure of like having to do a perfect line. And then you just flip it and you just kind of go over. But if you pull it out a little here, you take this and you just drag this and it helps you to create like a little wing. How my approach changes based on eye shape. So if someone has like close set eyes, for example, my main focus is going to be to separate those eyes as much as I can using makeup, shadow and liner. If someone has eyes that are very far apart, my main focus is to balance that. So it's a little bit more balanced and it's not so strikingly far apart unless that's something I'm going for. If someone has very rounded eyes, oftentimes I'm trying to balance that and I'm trying to make them slightly more almond. So every shape and every face and every pair of eyes is going to be different, sometimes slightly different, sometimes very different. And even if you have a signature makeup, that signature should be very easily adjusted for each face that you're working on. Okay, so I'm going to take a little bit of my favorite shade of the cream shadow, which is Sienna. And I'm going to go now along the lower lash line. And I'm going to also use powder there after I've done her concealer. But this is just the first swipe of a little bit of a definition there before I go into complexion. For you makeup artists that are working on someone, let's say for the first time, this is a great way to test if someone's good with like a smoky, you know, along the lower lashes. You're cleaning up the face at this stage, so you can kind of test it out and see and wipe it off if you don't love. So I'm just going to be a little messy here because I'm going to clean it up with concealer and with Q-tips. And then kind of just go a little bit more lifted here. If you look at the two different eyes, some people look better without anything on the bottom. And that could be mascara, that could be shadow. So right now it's not blended yet, but this is when you would look to see, wait, do I need shadow on the bottom or do I not? She can go either way. Oh my God, that's hard. Yes, I just like to pray when that happens because it is so stressful. Some things that help are I have the client like breathe in through the nose. The mouth has to be slightly open. The tongue has to be on the roof of the mouth and you can't and it has to be slightly open. And then you have to breathe in through your nose and that tends to suck the tears inward. It's kind of weird to describe it, but it works. This is another reason why I love doing eyes first. Like I would rather all that tears and everything happen before we start doing complexion concealer because once that concealer underneath is set and that mascara is on, like you do not want tearing because it's so hard to fix that. You don't have this brush? This is my favorite double-sided brush E6 before my makeup kit got stolen in 2017 or 18. I had brushes that I had for like over 20 years. This one was one of my all-time favorites. I had it and I used it for so many years. I mean, it was so beat up. You couldn't see anything on it. I mean, it was all like scratched up. So I kind of remade that brush based off of that old brush that I had. But we are going to go in now and start doing a little bit of complexion before we finish up things on the eyes. When I'm working, I like emollient rich moisturizers because I find that the makeup and the powders grip really well to them. And so for me, it's like I don't even have to use primers and things like that when I'm using a moisturizer like this. We are going to use the new natural finish foundation. And this is the shade 16.5 neutral. Couple of little pumps. The F1 brush we launched years ago, actually at the same time when we launched our enhancer. I just love the way that this feels with this particular formula. But you can, of course, use the F4 or just use whatever you want. I also love using my fingers with this formula. I also like to use very little with this. I actually don't love using a lot of foundation no matter what look I'm doing because I like to consider that there's going to be sculpting, there's going to be contour, there's going to be bronzer, there's going to be powders, there's going to be so many other products going on. I'm just applying it where it's necessary. I don't want that coverage. I want this, which is more of this really soft coverage. Acne, I would treat after. So like I would do like a normal foundation and then I would go in and spot treat acne. So oftentimes I'll use like an olive tone concealer and I just kind of tap it with a very soft brush and just kind of go over it. And I set it with a little translucent powder. But I like to do that towards the end. What I don't love to do for skin that has acne or lots of blemishes is to put like a heavy full coverage all over it because like there's always areas that don't need it. Yeah, so typically here, I don't actually use a lot of product by the hairline. The reason why I'm not using a lot of product there is because there's going to be sculpting products that go here and bronzers. And because also the hairline, I don't want to get too much product there. How do I determine? Yeah, I think for me, it's just an intuitive thing. You know what I mean? Like I was never the type to be like, let me look for like her exact shade. I just kind of mix it on my hand a lot of times. It's actually very rare that I just use one shade. I tend to like to mix whether it's concealer, foundation. The important thing with like when you're choosing foundation shades and stuff is to know is their face and the neck the same shade? Are you going to be applying sculpting products and warming the skin after? Are you going to be brightening and highlighting? So all of those things are going to drastically affect how the makeup looks. I'm going to use two different shades, 320, 180. 320 is my all-time favorite shade. This has a special kind of undertone that I love. It has pink, pinky peachy undertone, but it also has this little bit of this gray, tiny bit of this gray undertone, which I really feel that makeup needs to look like human. And this kind of tone, I'm always mixing this into my concealer. This is how I love to work. I love to mix two different colors and kind of create my own little middle color. I don't know if you guys know about this brush, but EF-1, this is one of my first brushes as well. This is so good for concealer or just anything when you're working on complexion or working on detail work. And of course, double-sided. So I'm going to take that and then I'm going to take that and then I just kind of make my own little shade. Brightening, just going in with a very thin layer. This concealer is very pigmented, kind of creating that shape. And I'm not, again, not just concealing. I'm concealing, but I'm really brightening now. The complexion, highlighting. I never go up to the lashes. I never want to touch up there. I want to keep it quite low. Allow me some space to blend up and create the shape that I want. In place of using, let's say, like a lot of concealer, I'll use a color corrector first, if it's necessary. That way I don't have to use too much concealer. There's no exact amount. I just, a little bit lighter. Back in the day, I used to go a lot lighter. Now I go, not as light. Just blending now with a clean F4. Who has an F4? Who doesn't have an F4? Girl, what are you waiting for? Do you really not have an F4? I'm going to give you one. There were some years in those earlier years that I really wasn't going on YouTube and stuff like that. So I didn't know that there was this whole massive world on YouTube of people recreating my looks and stuff. I had no idea. For a certain amount of time, like I wasn't really sure. I didn't really know. I was just in my little bubble. I was working my butt off and focusing on work and clients. When the baking thing happened, like the banana powder, I just remember being in my house at the time in LA and I was so confused. And I didn't know why there was all this stuff happening about banana powder. I'm like, what, like, how do they know what's going on? Yeah. And then it sold out and then it tripled the price of it. And then it became this massive trend. And, but I was kind of like completely like oblivious to it. I'm going to now start powdering a little bit and I'm going to use our blush brush. It's an F3 brush. I like to use this side for under eyes and this side just to hit other areas. I am also a big puff guy. So I'm going to use a puff after I use a brush. So first I'm going in with our shade number two, the neutral light and just a little first layer. And I'm also going to definitely be putting some all along the hairline here because when I'm using my enhancer and my sculpting products, I want that to go over powder. So I'm going to definitely be focusing on making sure that any area that I'm hitting that sculpting product on that I'm putting some powder on it first. Now the products and the sculpting products I'm using are going to grab onto that powder and it's going to kind of mesh and blend in and look really, really natural and also be very long lasting throughout the day. The key is just not to use too much of it. I know I'm going to be using it here. So I'm going in here. I'm going to go in actually with shade number one which is more of the pink shade. It's called fair pink. And I love to use this under the eyes because I love to brighten. I'm just going to go here a little bit and sort of get that little T-zone area. But you can see that I like try to brighten as much as I could here, knowing that I'm going to go over now with sculpting and bronzing more golden sort of tone products, enhancer. Normally I would probably use like the light medium first and then build up to the medium. But just for time sake, I'm going to go straight in with the medium. It's a little bit deeper. Okay. F4 brush, smaller side first. And if you notice the way I designed this brush and I think part of the reason why so many people love it, right? Is that it doesn't mess up. There's little things like it doesn't mess up the hair when you're going along these sort of the edges. It allows you to get under the eyes and I'm using the clean side just to sort of blend it out a little bit. And then you see kind of this sculpting right here. This color here kind of connects into that little bit of that that I did in the corner there. But my favorite thing about this formula is that you can kind of see, you can see through it and it allows you to really blend. My second favorite thing about it is the colors. They're so golden and just the most beautiful sort of bronzy golden shades. So I'm going right along the cheeks, a little bit higher, not going into the hollows too much, trying to keep it as high as possible for lift. Foundation brush that we used earlier. So I'm just kind of blending everything quickly. A little bit of my sculpting to the lips as well. I'll add a tiny bit before we do lips later. What kind of blush should we use? Any one of these, Rose Crush, Pink Peony, which is also one of my faves and Perfect Pink. Somebody said mix. I love to mix. Ooh, this used to be my jam for many years. Like this more peachy. Do you think so? I'm going to mix two. Pink and peach. So I've always mixed pink and peach always. Yeah, you see there's something about it when you mix. Is it reading on the camera? It's bright in person. I don't know if it's reading. Give me a little cheek. Come on. Yeah. Oh, I love it because you can see through it. So pretty. You could see all the little freckles underneath. In person it's a lot brighter, but I'll go a little bit more for the camera. My friend Isabel used to say back in the day, ooh honey, she got two coats and a sweater. Meaning of like makeup because she had so many layers on. Let's do this little cutesy like nose blush. Did I put too much? I don't think I'm blush blind yet though. Master Mascara in super black. Oh, I dirty that. I'll wait for that to dry a little bit before I scrape it off. Oh yeah, just don't rush and be more careful. This side I struggle with when I'm teaching on stage because like I can't get in there, but that's also why I like thinner brushes. So if you notice this wand, it doesn't have extremely long bristles. But which one do we want? Almond or Richemont? So this is almond and that's Richemont almond. Lay the pencil at an angle and just let it slide at the top of your lips so that you're not stressing. Where you're just slightly overlining, but you're focusing the majority on the center. So right above the cupid's bow here and right below here in the center of the lip. And you're not overlining too much on the outer corners. You're going within the natural lip line. It shortens the distance between the top of the lip and the nose, which is sort of like a youthful effect. Oh, guys, stop. You're being such a... Oh, it does look really good actually. Satin creamy lipsticks. Maybe I'll let you guys choose. So this is Flatiron. It's a beautiful nude. This one is Bronx Baby. This is inspired by my oldest sister when I used to watch her putting lipstick on to go to school. South Shore. So top, bottom or middle? I guess Staten Island wins today. You go stop, good. Here, let me just take a little bit of Bronx Baby because I did want to add a tiny bit of that. I'm just going to pat by the lip line. Soft setting spray. I just don't want that wet mascara to get on that. Oh, I want to thank you guys so much for spending the last few hours with me. Really appreciate it. Thank you, guys. Thank you, Masterclass New York City. Love you guys.