What do you do to celebrate a 15-year career as one of Britain’s leading fashion designers? If you’re Matthew Williamson, you collaborate with Benefit Cosmetics to create a limited edition makeup kit, that’s what! The exclusive-to-Sephora set, titled The Rich is Back, contains a selection of eyeshadows, a mascara, a cheek powder and a lip gloss. Though Williamson prefers a more natural look at his shows, the range of shades chosen for the Benefit kit allows for both a casual and daring look.
In seeking inspiration for the makeup kit, Matthew Williamson explored his print archive and chose vibrant shades reminiscent of ’70s cocktail parties and hedonistic discos. “This high-octane makeup kit encapsulates some of my favorite iconic prints and the fun-loving, light-hearted spirit of the Benefit girl,” Williamson said via press release. The designer, who is widely know for his obsession with colour, chose a bright kaleidoscope print with peacock feathers and pink flowers for the makeup kit’s packaging.
The collection is available in Sephora stores June 2013, but if you can’t wait that long—and you’re in Toronto—you’re in luck. Benefit has been promoting #TheRichIsBack onTwitter, inviting customers to come to a one day flash sale event held this Friday, May 10 between 12-7pm at the Toronto Eaton Centre Sephora. The pink carpet event promises a live DJ, body painting and a chance to pick up tips from leading Benefit makeup artists.
Initially changes in fashion led to a fragmentation of what had previously been very similar styles of dressing across the upper classes of Europe, and the development of distinctive national styles. These remained very different until a counter-movement in the 17th to 18th centuries imposed similar styles once again, mostly originating from Ancien Régime France. Though the rich usually led fashion, the increasing affluence of early modern Europe led to the bourgeoisie and even peasants following trends at a distance sometimes uncomfortably close for the elites—a factor Braudel regards as one of the main motors of changing fashion.
Classical philosophy and sculptures of men and women produced according to the Greek philosophers' tenets of ideal human beauty were rediscovered in Renaissance Europe, leading to a re-adoption of what became known as a "classical ideal". In terms of female human beauty, a woman whose appearance conforms to these tenets is still called a "classical beauty" or said to possess a "classical beauty", whilst the foundations laid by Greek and Roman artists have also supplied the standard for male beauty in western civilization.
Design philosophies are usually for determining design goals. A design goal may range from solving the least significant individual problem of the smallest element, to the mostholistic influential utopian goals. Design goals are usually for guiding design. However, conflicts over immediate and minor goals may lead to questioning the purpose of design, perhaps to set better long term or ultimate goals.
In The Sciences of the Artificial by polymath Herbert A. Simon the author asserts design to be a meta-discipline of all professions. "Engineers are not the only professional designers. Everyone designs who devises courses of action aimed at changing existing situations into preferred ones. The intellectual activity that produces material artifacts is no different fundamentally from the one that prescribes remedies for a sick patient or the one that devises a new sales plan for a company or a social welfare policy for a state. Design, so construed, is the core of all professional training; it is the principal mark that distinguishes the professions from the sciences. Schools of engineering, as well as schools of architecture, business, education, law, and medicine, are all centrally concerned with the process of design.
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