A Step-by-step Guide to Soft Glam Makeup

Hi, I'm Ellie Luna, professional makeup artist and creator here with Tati. We're going to be doing a soft glam look. I'm going to show you how to get this look step by step. So get your products out, set yourself up, and let's do it together. All right. So we're going to prep the skin. And to start, a superstar. We're going to go in with Caudalie. One, this is kind of hydrating. It makes the skin more receptive to our minimal skin prep that we're going to go in with next. And it also smells incredible. It does. Right? It does. Yeah. Giving the model, the client, whoever you're on or yourself a sensorial experience from start to finish is key. OK, now moving on. I like to get my brow gel on while I do skin just so everything can dry and be nice and set by the time I get to the eyes. We did zhuzh her brows up a little bit beforehand. And when I apply brow gel, I want to be careful not to press too hard and go against the skin because it's going to disrupt that product. Sometimes if you do your brows and it gets muddy once you go in with your brow gel, it's because you're applying too much pressure. So just keep it really light. We only want gel on the hair. Next, we're going in with very minimal skin prep. When you're doing soft glam, usually you're probably going to an event. There's probably going to be a lot of photography. In my experience, it's foolproof if you just go in with a reliable moisturizer. And for me today, that is the do instant angel. The other thing to keep in mind while you're doing your skin prep. Don't be too heavy handed. You don't need to apply tons and tons of product. I know you see it on social media and it makes great content. It stops the scroll. But for real life, you don't need to apply so much. It's kind of wasteful. And you're working against yourself. I like to do a little bit of a drumming tapping just to wake up the skin, encourage blood flow and make sure you get in those corners around the nose. A lot of people tend to get dry in those areas. So try not to neglect that. Gorgeous. And also I like to bring this into the neck. The neck is always not always, but often I see you. I'm not going to say any names, but you neglect the neck sometime. I'm not going to tell anyone. But after this video, you're going to stop, right? Right, right. No shade. But we always want to involve the neck in the process because it's a continuation of this. Right. And if your chest is going to be exposed, you want to also bring that into the mix. I mean, you could use something else for that, like your normal body lotion. But for this, I like to bring the skincare onto the neck. So Tassie's lips have a little bit of balm on them, but I like to baste the lips because we're going to do a really cute lip combo later. And it's going to involve some liner. So I like to get it really coated. We're using the May Beauty lip balm, and I'm just going to coat this really well. Before I go in with any complexion, I like to take a tissue, split it in half and just lightly press over the skin. So we're going to pick up any excess product. You can use your hands or you can use a puff, whatever you like. We're going to be doing a lot of layering. So you want to be sure the layers are as close to the skin as possible. Underrated product, in my opinion. Have you used this? I have never. OK, this is Flawless Filter by Charlotte Tilbury in shade five. And what I love about this is that it's kind of perfecting. It creates this veil of perfection. So it bounces the light, it blurs. It's really beautiful. And it's going to minimize the need for that more full coverage that we're going to bring in in some key areas later. So it has a little bit of pigment, a little bit of light reflection. So that's what we want for this step. I'm going to put this on the back of my hand, which are clean, by the way. So what's the difference between putting it on the back of your hand versus straight to face? Control. That's the difference. Because if I put it on your face now, whatever's on your face, if it's too much, it's too late. Now we're fixing mistakes. If you put it on your hand or you put it on a palette, you have way more control and you can really pace it out and stop when it's enough. So I'm taking the Sephora collection foundation brush. I'm working my product in and I'm going to start. It's going to look scary at first, but trust the process. I'm going to start kind of at the perimeter. So I like this tapping technique because as you tap, it kind of helps spread the product without swiping. If I swipe, it can create streaks in the foundation, which I want to avoid. So I like a tapping motion. It helps me spread the product around, get a little bit of coverage, which is what these dense brushes are really good for without working against myself. I know that I'm going to go into the under eye with a little color corrector, a little concealer. So I don't want to build too much product in the center of the face. So that's why I like to start with the perimeter. It's also a little bit warmer than her face. So we're working in those layers because we're going to bronze later. We're going to use less bronzer later because we did this step. Do you see what I mean? So we're building that story. We're creating harmony at every step, and we're always thinking ahead. I like to call this approach to skin patchwork. So we're using different textures, different levels of coverage in different areas of the face as needed. It's always good to just start right off the bat going onto the neck because it's so easy to forget it. The other thing I love about this is if you have any redness in your skin, any kind of discoloration, we start addressing that and making the skin look more uniform without going heavy coverage because that's a really common mistake that I see. People will treat the entire face like that one part that they want to work on. So just keep that in mind. Gorgeous. OK. Next, we're going in with foundation. This is the Charlotte Tilbury Airbrush Flawless Foundation. It is good coverage. So you want to use it sparingly. You want to really have a plan with this, OK? I'm going to use actually the same brush, number 40 Spore Collection, and I'm going to start working out of this little dot I applied here. Now, the reason I'm doing this instead of jamming the brush into the whole dot is, again, because of control. We want to be able to control the amount of makeup that's going on. So I'm going to fan that out and then I'm going to work towards the center of the face. Now we're starting to get that perfection dialed up because we started out with perfection, obviously. But now we're taking it to another level. You have to keep in mind that if you're going to be photographed, the camera picks up things that the naked eye cannot see. Like it's going to clock things that you didn't even know were there. OK, so when we do this, when you're thinking about this type of makeup, you want to think about designing your own spotlight. This makeup is the kind of makeup that would make it. So wherever you go, it looks like the light was made for you. That's what we're creating with this. And you can see I'm going in with a super thin layer because of that first step, we addressed a little bit of bouncing, a little bit of evening out the skin tone without making it a mask. OK, tuck your top lip. I would say this area above the top lip, really getting close to the nose. Like it's your brush. Don't be shy. Get in there. Because if I had a dollar for every time I saw makeup, that kind of stops right there. I wouldn't be rich, but I'd be doing well. And you can see that I still have quite a bit of makeup left. So imagine if we would have went full throttle onto that dot, it would have been way too much. We're going to talk about two things. One line of demarcation. So much foundation stops here. Don't do that, please. Like I'm begging you. Take your foundation. When you get here and you think you're done. No, you're not. You're going to swing the brush under here. OK, and you're probably like, no one's going to see that. It's about creating harmony. And from whatever angle you might be seen or photographed, which is where you really learn. You want to know this before that. OK, second tip is if your hair is pulled back, make sure you grab a little foundation and tap the ears. So before we go in with concealer, we're going to continue the whole color balancing and harmony story that we're creating here with a little neutralizing. This is the Sarah Creel Color Corrector in shade Reboot. And I'm just going to dab a little bit on the back of my hand. You don't want to use too much. And there are two ways you can use a color corrector. You can either go directly on and then layer your concealer or you can mix a little bit with your concealer if you have trouble blending the concealer in so that the orange doesn't peek through. OK, and that's usually a blending issue. So there's no right or wrong way as long as you look flawless at the end. I don't care how you get there. All right. So I'm taking this Sephora Collection concealer brush and I'm going to grab my little pinky puff. So before you go in with color corrector, I want you to look in the mirror and consider what you're trying to neutralize, because sometimes we can see people just kind of applying it wherever. And if you're not sure why they're putting it there, you might copy that and end up with a less than ideal result. Right. OK, so we want to customize our technique for our specific needs. I'm going to take a little of that seracryl and I'm going to first look at where I want that. OK, so for me on Tati, it's going to be mainly here, mainly there a little bit here. But you don't want to get too close to the eye with layering too much product because you're going to encourage creasing. OK. So if you have creasing issues, it's usually too much product. So scale it back. OK, now I'm going to lightly bring in that color corrector. And as you can see, it's such a thin layer because what we want is the color to address that brown blueness. So again, the color wheel is a theme in makeup. Always. You don't have to know the whole wheel. Just keep this in mind, OK? If it was redness, we would go with something green and so on and so forth. So I'm keeping the layer super thin because here it's not about coverage. It's about neutralizing. As long as we don't see the initial color that we started with, that under eye darkness that a lot of us have, that's all we want. And then the concealer will do the rest of the work. I'm going to take this fluffy brush, which is actually like a crease brush for eyeshadow. Whenever I want to really thin out a concealer, I like to bring in a fluffy brush because it's going to help diffuse it even more. Layer it a little bit, bring it up a tiny bit, but not too close to the lash line to prevent that creasing. All right. So we're here. Other places that I see a little bit of opportunity for balancing is around here, which is very common around the mouth and under the eyes. I almost always am neutralizing. So I'm just going to go right there. It's very common with women. I don't know why, but it's just a thing. Skin is just unpredictable here. And because we didn't go too heavy handed with the foundation and our first layer, now when we go back with base to make this match the rest of the skin, it's not going to look cakey, which is what we want. OK, before we go on to concealer, I just want to point out not going up to the eye is also a technique because it's going to work with the eyeshadow. We're going to use the darkness that's already there and just build on top of it. Instead of trying to create this moment of anxiety, trying to hide it, we're going to use it to lend to that soft glam neutral eye look. So I'm going in with the House Labs concealer in shades 34 and 32. I'm going to take some off first so we don't have a lot of product on that doe foot. And then I'm going to dot. I like to start with a shade that's close to the skin tone. You can see how that's already blending in so beautifully with her skin. This step is also when I like to start thinking about shaping. So I'm going to start thinking about where I want this eye shape to go. And the most flattering for everyone is the ponytail technique. And to help you actually ground this technique deeper into your brain is to just think about this line right from the outer corner of the eye. Think about if you placed a really well-placed pony that's kind of high, but kind of mid, it would be this line. Right. So if you're not sure where to do it on yourself, just throw you here in a quick ponytail and use that line from the eye to the ponytail. Then take a little bit here again, not being heavy handed. Now I'm going in with shade 32 and I'm going to bring that a little bit closer to the nose. I also like to bring the brighter tone in here and here. Usually the nose will cast a shadow, which is totally natural around here. But wherever you can balance and kind of think ahead for photography, it's key. It makes such a difference. All these little tweaks and being really detailed really read well on camera. I'm assuming you're going to be on camera because obviously you're a star. Duh. Back to our fluffy brush. And I'm going to just lightly start working that in. And I'm using this motion, which to me is kind of like a human airbrush. So we're sort of whipping up that concealer and making it sit as close to the skin as possible. And I love the gradation of using a tone close to the skin and then using a brighter tone because it just creates something dimensional, which when it comes to skin, skin is dimensional. So wherever we can echo that, that's key. Now, remember, we talked about thinking about the shape ahead of time here. We're going to do the same thing. And we're going to the direction of the pony going to blend it. And that contrast is really going to be important when we get to the eye shadow. And that's why it's important to kind of know where you're going so that everything is in conversation with each other. So you can see we brought balance. Everything is looking closer to the skin tone under the eyes. And then as we build the complexion, we can always come back because sometimes when you introduce bronze and contour or whatever tones you're going to use, it can, in relation to the other makeup, make things start to look a little different. So we tweak as we go. Same ideas under the eye. I'm taking that fluffy brush and just making sure that this little neutralizing and correction we did here melts into the skin like we were never there. So thinking ahead, which is kind of a theme with these layers and soft glam in general. I'm going to take a little bit of that concealer that's on the back of my hand and I'm going to address the tone on the eyes. Right. So later, when we come back to do eye shadow, we'll have not only a base, but we'll also have a neutral backdrop to build our eye shadow on top. Very thin layers, because if you go in too heavy on the eyes, you're going to be creasing. By the time I stop using this brush, it's going to start creasing. So again, we want to help ourselves help our future selves by making it easy by doing the technique correct the first time so we don't have to fix it later. It almost looks like I didn't even touch it. Look at the difference between these two eyes. We're not trying to create a finished look by doing this. We're just setting ourself up for success. I would say be careful around the eye with this, especially when you get close to the lash line, because the eye is very thin, that skin is very, very thin. And usually you can end up with creases, especially along the lash line. So just be careful and really take your time blending that in. So as makeup artists, we tend to depot a lot of things. Obviously, you're carrying a shade for everyone, different powders. You're always ready to problem solve. So this is the one size translucent powder depotted. And I'm just going to place it into my stainless steel bowl because we love hygiene. OK, I'm going to take another Sephora collection fluffy brush, and I'm just going to first tap it out in case there's any creasing from just movement of the eye, which is natural. You can even take your little puff or tissue and just kind of press it against before you apply that powder because whatever's there is what you're setting. So with all eye looks for me personally, I like to start with a nice wash of color to serve as a backdrop for the eye shadow, because I want everything to be a slow, gradual build to that final look, as opposed to just putting two shades on the lid because it looks a little stark, a little abrasive, a little, you know, take me to dinner first, you know. So I'm going to start with it's an Esmeralix Color Fix Shade 10 from the Nudes. These are so essential. I have every shade in my kit and I do not go anywhere without them. Now I'm taking that tiny bit, it's like a rice grain size, and I'm going to start working that onto my brush and then starting on the outer corner, thinking about the shape I want to create. I'm working that in. And again, the fluffy brush gives us that diffused color. With this one, I'm going to create sort of a halo because I know what my plan is for the center. Wherever you have a natural contour, lean into that. I call it the drop off point. So get familiar with your face. I always say this. You have to study your own features to become the master of your glam, the master of you, right? So touch your face, feel for the planes. Where are the bones sitting? What is it giving? And then accentuate what you like, and then we'll address what you don't love as much. OK, it's fair. We all have the things I do, too. OK, so I'm going in here because there is a natural shadow there. That's the orb or like the circle in the skull that makes place for your eyes. Like we're literally using the bones of your anatomy to help kind of guide us to where to place product. Again, we're working from our little rice grain. We're working it into the brush and we're pulling product out as opposed to jamming the product in the same as we did for the base. And I want to make sure it's in all the little brush hairs, because that's going to give us an even, smooth distribution of color. So nothing's going to look streaky and off, you know what I mean? I'm going to go in here and then here. So you see, we're creating our shape. We're implying our shape, but it's very much a whisper. So you can already see the eye starting to take shape. I'm going to take a little more concealer on the back of my hand. I'm just going to pop it on the center, because like I mentioned before, once you start going in with your layers, when you see everything in relationship to each other, you start going, OK, let me go back, let me add, let me tweak. So it's not a test. And if it was, it's open book. So take a deep breath. You got this. OK, I'm taking a little of that concealer going in the center here. And I always say that whatever you're doing, always go back with your first brush and just blend those seams, because I want every part of this makeup to kind of blend into each other. So we don't really see where anything starts and we don't see where anything ends. In keeping with the theme of setting our backdrop, I'm taking a little of that concealer because I know I want a little halo vibe because I know I'm going in with a vanilla tone in the center of the lid. So instead of covering the entire lid with that brown, again, working with and for my future self, setting myself up for success. And again, taking that fluffy brush, working those seams into what we did in the first step. You always want to think melting. You never want to see where one thing starts or ends. Going in with a makeup artist favorite. Do you have this palette? Of course. This is the Makeup by Mario original master maths palette. We love her. Actually, Mario said this palette was inspired by global skin tones. And I was like, that makes so much sense. That's why we love it so much, because it makes sense. Like it just speaks to colors that exist in our skin. They're actually all numbers, which I love, too. I don't know if you ever notice this, but all of these are numbers. Yeah, we're going to go in with Matt to have a little bit onto that brush. And I always like to use the back of my hand again. If you don't do that, you're going to end up with a splotch, a patch or something that you don't want. So just make sure your brush is evenly covered. I've already set my template, so I don't need to overthink this. I'm just going to work it into what's already there. We're just echoing that shape and tone. The other thing to know about soft glam is it is very dimensional to someone who is less experienced. You might look and just see brown and vanilla, but it's going to be like two or three shades of brown, a shade of vanilla. It might even have a little bronzy liner in the drop shadow. So you have to get really into those details to appreciate. And also it's going to help frame your eyes. Not only the shape, but the color. When I do a soft glam, it probably takes me at least 20 minutes to do the eyes. Yeah, I think that's reasonable and common. And I have to tell you, even though I'm sitting here teaching you this today, there was a time where I was a total mess. Don't be discouraged. Maybe one day you'll be here teaching this because it's just practice. Like I'm flying through it now. And even for this tutorial, it seems like, oh, my God. Like, am I going to be able to do this? But it's only because I'm explaining it. Once you practice and really get it down and just take what you love, you don't have to do every step. You can start to see the contrast is building, too, but it's doing so in a really soft way at the end of your makeup because, you know, we want to move on at some point, get it to a place where it feels good. It feels like a wash of color. It feels harmonious. It's not patchy. And then at the very end, don't be afraid to just look at the whole thing and go back in and blend again. So would you say blending is the key to a soft glam? Hmm. But I say it's the key. It's a key. OK, it is definitely a key. I'm going to mix shade one and two. And the reason I'm doing that is because two is kind of in the realm of her skin tone, like the high points of it. But I want to lift it a little bit more. So I'm going to mix these two. When you're doing a look like this, start with your skin tone as a base level for where you're going to be. Right. And then you can lift it one shade, two shades, or if you're really up to it, three shades. But it depends on the level of contrast that you're comfortable with. If you don't like a lot of contrast, you can still do this technique. But just use your skin tone. Just as long as the color around the center is darker and creates a little contrast, it doesn't have to be intense with your skin. It's all going to work and feel harmonious. Dial it up to a level that you feel comfortable with. But start with your skin tone as you're jumping off point. I love the way that looks because it lifts and it doesn't look like ash. It's not too warm. And again, always going back in with our brush. I don't think I told you what brush this is. This is the pro shadow 15 brush. I love it because one, the size is perfect, too. It's kind of flat, but it's a little it has a little movement to it. So if I need to kind of blend a little bit, it gives me a touch of what a blending brush does. But while still being flat to pack that color on, it's going to go in here, leave that color down and then back to our concealer brush. We're going to blend that. And the reason that we do this, I mean, you've seen it a million times, but it's really about light and shadow. So the eye comes forward where like your eyeball, right? It's literally coming forward. So we're basically echoing that sentiment. It's really just like working with the best parts of what you already have. And we all have that. So just keep that in mind. Now I'm going to go in with that same mix of one and two and blend. OK, for liner, we're going to do one of my favorite tricks, which is using a little fix plus on your angled brush. This is an eyeliner brush from Sephora collection. I'm going in to this darkest brown. I'm going to mix a little warmth in there. I'm using this to create my liner. I'm going pretty close to the lash line. I'm going to also follow that shape I created with this. And we're going to bring in a little brush. This is a Sephora collection number 15. I'm just going to diffuse and soften that line. You can really see it taking shape. Placement for eyeliner is always a little tricky. So this is another way to think about it. Think about where you want your eyeliner to go. Create that kind of guideline with your shadow and then go in with your liner. Something I like to think about when doing liner like this is instead of thinking of it as putting it on because you might go heavy handed, think of pulling it out. You use less product that way. So I start in the center and then I start pulling it out. Then I'm less likely to dip back into my powder unnecessarily. And if I need to build, there's nothing wrong with that. I got a little excited on that second line. So I'm going to take one of my favorite little tools, which is this really, really tiny little swab. I'm just going to fix it. Not a big deal. Going in with a little MAC stack mascara. I like to kind of brush this off on the top because you don't want to start with a big clump of mascara on your lashes. It's just not ideal. OK, nobody panic. I just got this here and there are two ways we can approach this. One, calmly. We're going to let it dry. We're going to take a spoolie. We're going to flick it off. Two, beauty mark. You choose your adventure. I'm probably going to take it off. But just so you know, I actually love showing things like this because it happens to everyone. It's really OK. A way that I could have avoided this is by bending this. So if you're a professional makeup artist, that's a little tip. I didn't take my own advice today, but that's OK. Going to the base and working it through. Next, we're going in with the Makeup Forever HD Skin Essentials. This is just going to hit a lot of points like our blush and our bronzy tones. Usually soft glam brings in a little contour, a little bronzer, a little blush. It's pretty tonal in general, as close to neutral as possible. I'm going to work with mixing two of these shades. What I actually usually like to do, I'm going to show you the full process. I like to scoop it out with these little disposable spatulas. Get it on the back of my hand and then kind of work from each color. I'm not going to use this much product, but I like options. So I'm taking this pro foundation brush from the Sephora collection and I'm going to mix these two shades. Again, I'm going mostly with the darker shade and I'm going to use this as a bronze tour. So we're basically taking bronzer shades, which tend to be warmer. Of course, it's relative to your skin tone. Sometimes something is too red on one person, like an olive tone person might find a red bronzer too intense. So it's relative to your skin tone. That's why it's important to get into a Sephora and really play with product so you can see what works with what's already in your skin tone. It can feel like we're guessing a lot of times when you're learning to do your makeup, but when you really get into the story of your skin, it starts making a lot of sense. And I'm going to take a clean brush. I'm just going to work those edges. Getting very sun kissed. If you're not sure where to stop your bronzer, if your bronzer tends to go a little low, the tragus is a great guideline for where to stop. So you can take a brush, put it to the tragus, create that line diagonal with your cheekbone, and that will be the bottom of your bronzer. It's also a good guy for contour. You never want to go below this because there's nothing there for you. OK, it's flat. There wouldn't be a shadow there. And that kind of throws back to what we talked about earlier with really using the anatomy to inform your steps. Right. So no guessing. I will say a lot of people who do a lot of soft glam like a lot of powder. I'm not a heavy powder kind of person, but that doesn't make it wrong. So again, choose your adventure. It's really about what your style is. So what I'm doing with this is actually taking it straight down the nose instead of creating the two lines on the side, which sometimes I like to do. I'm going to actually go straight here and then we're going to lift just the bridge of the nose. Whatever is left on the brush, I'm going to pass it in here. I want to imply a shadow, but this is for real life. So I'm not going to be too drastic when you think about where the sun hits. Whenever you get tan, this is usually the most tan part of your face. We're not going to take it too far, but we do want to address it. If you want to make this last a long time, let's say you have a very long day, a very long event. You want to start at the beginning. So today we just did a little instant angel. What I would have done for a really long haul is a little Danessa Myricks Blurring Balm Powder. The technology in this is Chef's Kiss. The Upsalite, which was developed in Sweden, is a breakthrough ingredient. And I think Danessa, if not the first, is one of the first to use it in cosmetics. So that is very exciting. It's in her blush. It's in her water powder. Like, it's incredible. And no one is doing it like her. So that would be one tweak if you were going to have a long event. And then, of course, setting at the end with powder. I'm going to take a little bit of 32. I'm going to use this Pro Concealer Brush. I love it because it's flat, so I can take it directly on the bridge of the nose and just that kind of does what we need it to do. I'm just applying it to the bridge of her nose. I'm not making it smaller. I'm not making it bigger. I'm just using what's already there to inform me. So go down the center. And you don't have to follow it all the way down. I like to keep it between the corners of the eyes and right before the tip. For blush, I'm going to actually mix this warm kind of tone with a little bit of that bronzer tone. And that's going to bring us into kind of like a brown blush, which is having such a moment right now. People are looking for brown blush. So this is more like a terracotta, but it's in that family. OK, so I'm going to work some onto my brush. I'm going to bring that war here. So I love talking about placement. And one thing I noticed is the high placement has become very popular and it is very flattering. But not everyone has the same face shape, face size. So keep that in mind. Right. I love this angle. And whenever you can create that angle, that's great. But if you have more space, if you don't have a tiny face, it's OK to bring that angle a little further down. Think about like boyfriend blush meets high angled brush. And however you can translate that for you. That's going to be a more bespoke way to approach your blush and not just like I saw it on TikTok and then I did it. Oh, I love that color on you. And you see how that brings life to the face. That's what we love about blush, right? I feel like Soft Glam is a little more, I don't know. It's like the big sister of Clean Girl. You know, it's like she's a little more elevated in a way. She's she doesn't want to be too loud. She's like, that's cute. I went through that phase, too, you know. And maybe you're Soft Glam on the weekend. Clean Girl during the week. We're very dimensional people. OK, look at me. Yeah, I'm going to bump up a little more in here. Another great thing about this palette is you see how I'm mixing colors. Working with palettes in general give you that flexibility and freedom. So you're not really stuck to one thing. Like you can go in here and kind of see what are you feeling that day? What are you trying to create? And then you have like map perfectly curated for you. And you can work within that realm. So I'm using the Makeup Forever HD skin palette. This is medium. It comes in light, medium and dark. I believe definitely worth checking out. So we have our warmth. We have our bronzer. And then, you know, the girls like to do a little bit of this. You know, you can you don't have to. It's not really where that lives, but we love that. I'm going to take a little more concealer because like I mentioned in the beginning, once everything starts to build, you can kind of start noticing, OK, maybe that's not enough concealer, actually. And then you can add a little more. I'm going in with a little bit more of shade 32. You can see how it lifted under the eye. All right. So let's go in with our lip combo. We've had our lips basting with the Made Beauty lip balm. They're nice and plump and hydrated. I'm just going to take this off. Why do we take it off? OK, we use the product to prep. And when we go in with our liner, have you ever tried to put liner on top of gloss, mascara, slip and slide? OK. Low color payoff. Not a lot of precision. So keep that in mind. I'm just going to quickly go in here. I'm going in with a Sephora collection length lashes. I love the way these are packaged. They come out so easily. You know, sometimes it's a struggle. OK, I'm going to kind of bend, you know, we like to make it a little flexible so it adheres to the eye shape. And then before I cut, if I'm cutting, I'm going to just place it so we can see where it sits. I'm just going to cut a little bit off the end. Very light layer of glue. And before I apply it, I'm just going to let it air out a little bit. That's going to help the glue get tacky. OK, I'm going to start laying it down. I like to get the center of the lash touching and then adjust to ends. It's kind of like an anchor. And another reason why using placement at every step is helpful is because now I know where to angle my lash to. In the interest of time, we're going to do a lip combo, starting with a cult classic. This is the shade Cork from MAC. You know her. We love her. Period. She's in my bag. Yeah. This is your color. Yeah. I'm going to build the lip a little bit, but I'm going to work really with what she has. I also love to bring in a little fluffy for this. Depending on how you use your pencil, whether it's straight on or angled, it's going to give you a different look. Straight on, harsh line. Angle, shadow. OK. And because I know I'm going to go in and blend, I'm working on the side of the pencil as opposed to the point. If you ever have trouble doing your bottom line, one trick is to smile like a crazy clown smile so you can create tension. That way, it'll help you create a smooth line without skipping. It'll also show you exactly where it should go. You see how I look crazy on camera for you? I'm going to take my fluffy brush and soften that. And I'm almost overshooting it a little bit so we get a little more fullness at the top. Softening this. This is a MAC matte lipstick in the shade Sweet Deal. One of my favorite ways to apply lipstick is to press it like this. Sometimes you see a shade you love and when you put it on, it looks terrible. And it might be because you're putting on too much. Sometimes you want to press it and get the essence of that color without forcing the issue, right? We want to introduce the color. We're not trying to do more than that. And you see how it kind of feels like it's coming from her instead of lipstick applied on top. We all have like little lines and things with our lips. If you go to opaque, it really makes those look more pronounced. But if you go really softly, use your finger and really marry it with your texture. It feels a little more like part of you. Last step for the lips is a little lipgloss. This one's clear and I'm going to focus it in two places. Center here and a little bit around the cupid's bow. It's where the light hits the most. It's going to make it come forward, make it look more full. Again, building on the story we've been creating with our liner and our lipstick. All right. Last step is going to be just getting some powder on because she's a little shiny going in again with the one size translucent thing that in here. You see how little powder. This is what I'm using. We don't need a lot of powder. If we need more, we can add more. And before I go in with powder, I'm going to take this. Actually, remember that little mistake that happened earlier? This is a good time to address that. It's dry. You can take this and just get rid of it before I put any powder on. I'm just taking this and kind of going over everything. I'm going to take a Sephora collection sponge with a little Mac Fix Plus spray it. My final melting step before I go in with that powder. Now the makeup has had time to sit. It's settled. And here I'm waking the formula back up, going in with that spray. That's what that does. And then the sponge is going to give me that seamlessness. Now I can go in with the powder. So I'm going to take this and work it in. I want to see as even as possible of coating on my puff. So we're just focusing on those key areas. There are areas of the face where we love glow and it gives vacation, summer. But then there are places where it gives struggle and we are not embracing struggle. This is a blush brush, but we're going to use it for powder again. Repurposing brushes, getting much use out of many is always a good idea. Now, could this have been heavier, more powdery, all that? Absolutely. But I feel like this is a more fresh and modern take where it marries the two that we talked about, clean and soft glam. And there are levels to makeup. You can take trends to different places. I think it's really about finding out where you're most comfortable. I'm focusing there to finish this look. I'm going to take a little of that shadow again in this shade. Mix with a little bit of that. And I'm just going to create a drop shadow. Remember, we didn't cover with concealer all the way up to the crease. This is where we use that color. And the cool thing is that color tells you what color shadow to use. So, you know, everything has a little bit of a blessing in it. When it comes to your face. Depending on who you are, some people cannot wear bottom mascara. This is a great step to do. And if you can, then you can do both. For our final step, we're going to bring a little controlled glow using the Westman Atelier lit up stick in shade Brulee. I love this tone, especially on her kind of skin tone or even on me on deeper skin tones. It has a warmth to it. It has a little pink. It's really gorgeous. Turn this way. And I'm using a puff. We're just going to be really specific about it. This is that glow that when you see it on the carpet, you're like, what is on her skin? Right. I'm going to build that a little more. And if you want something clear, Tower 28 makes one. It's called No Shade. It's a great alternative where it gives you that glow without any pigment. So something to consider if you're trying to figure out where to stop it. It's good to kind of play with the light and see where it's falling. I like to also bring a little bit to the brow bone and a little bit here like a C shape that also includes the brow bone. The same thing on the other side. Yeah. Working off a palette, a hand. Then turn your sponge around. Give it a little spritz, because what normally happens with this technique, if you don't do this, is you have like a point of demarcation. I'm going to take that, pop it right onto where it ends, just so it's a little more seamless. And that's our soft glam look. OK, are you ready? I'm ready. OK. Tati has not seen her face yet. She's been so patient and kind. We're going to do a little reveal. Here's your mirror. A princess. Oh, yeah, exactly, exactly. Exactly. Yeah. She's giving soft. She's getting glamorous. It is giving like me, but better. Exactly. You ate this, sister. You ate this. Thank you. So that's our take on soft glam. Bringing in some of those clean girl elements that we've been loving of the past three or four years while still being a fresh take on a classic. Obviously, we kept it very tonal. That's a really important part of soft glam. And it's dimensional without feeling loud and forced. Nothing's wrong with being loud. No makeup shaming. But that's not the direction we took today. So I hope you enjoyed this and we hope that you'll try it.