Zitat des Tages von Francois Nars:
True icons are larger than life, unforgettable with an elegance that's mesmerizingly timeless.
Wearing colourful eyeliner in a graphic shape is the epitome of make-up as an accessory.
You are born with this love; fashion and beauty are a part of who I am.
You can look glamorous even if you're a housewife, any job you have.
In America, when I first came here, they were used to wearing more make-up - thicker foundation, more Max Factor, that sort of thing. But you have to know who you are and what you look like: if you know yourself a little bit, you don't need to follow trends.
It's very refreshing to go away and take a break, to clear your head, and just get into something else.
I love strong looks, so to me, no makeup is strong. As long as it makes a statement, that's what I like. The girls look very real, and I'm probably the only makeup artist who will say that I love a woman without makeup.
From the start, I used a different kind of girl in Nars campaign images. My choice to use models of colour such as Alek Wek, Naomi Campbell and Karen Park Goude was absolutely a deliberate one. I felt that makeup was universal and should apply to everybody.
I met Iman and Jerry Hall and all those girls in the late Seventies right when I started working at the fashion shows in Paris as an assistant.
I love so much the models from the '60s and the '70s. They were extremely professional, great models who knew how to work the camera so well and loved fashion and had a great sense of style.
In a lot of cases, makeup is a fantastic help, and that's why women love makeup in general. It's a fantastic way to help somebody look great. It's not the only way, of course, but it's a major accessory, along with hair, clothes, lighting, all those things.
I'm very nostalgic - and I don't care.
My mother never wore much make-up, and she was a kind of natural beauty; she knew just how to enhance what she had.
I love to collaborate with artists, like Guy Bourdin and Steven Klein, who don't have any boundaries.
I loved working with Avedon.
I think Edie Sedgwick comes back, too. Every five or six years, there is always something about Edie, because she was so modern and stylish and elegant and hippie-ish, all at the same time. So I think that people will always love her.
I had no connections, and the fashion world was a closed elite. So my mother made appointments for herself with three top Parisian makeup artists and spoke highly about me... she was my first publicist!
I think less is more when it comes to make-up; this really helps achieve a lighter complexion. Heavy make-up creates a canvas and can dull the skin.
In this world, you do your job, a good job, and that's what counts.
Go with what you're attracted to.
I like shocking, but I don't like to shock as an automatic process. Sometimes it happens, but it's not my main drive.
I didn't want to create a makeup line for one ethnic group; it had to be multi-ethnic. To me, beauty is beauty. It doesn't matter to me what colour the skin is.
I think there was a freedom in the 1920s and 1930s: a certain liberty and evolution of women.
I've seen makeup destroy people and make them look bad if it's badly done.
Women are being more experimental with eye color.
Find your own way, have an open spirit, and believe in your own beauty.
I photographed Alek Wek. She was amazing, and nobody knew about her then. It was a really strong photograph of her.
There was a time when you would dream about, say, movie stars. Now, you virtually follow them into their bathroom when they're going to the loo.
It's more fun to have a name rather than a number. I think this gives our products a personality. I get the names from literature, movies, opera, traveling, nature, poetry, sometimes even the street. I keep a small book that I write in. I wake up in the middle of the night and jot down a name for a lipstick or an eyeshadow.
I love the architecture magazines and all of the French magazines for decoration or whatever. I end up enjoying them more sometimes than the fashion magazines.
The '80s and '90s were the greatest time to be a makeup artist.
We don't tell women how to look but give them the products and inspiration they need to feel and look beautiful.
Sometimes people are very not sure of themselves, so you really have to give them that confidence. Even models - they need to warm up sometimes on photo shoots.
I can't remember the first time, but I've worked with supermodels almost from day one.
I'm not so interested in perfect, plastic beauty, and I think it translates in the girls I've shot over the years for Nars, from Guinevere to Iris to Mariacarla. I love those girls. I love the more interesting faces, with maybe a strange nose, not just the Texan blonde. By picking those girls, I think it's changed what I've seen in other campaigns.
It's very hard for me to photograph someone when I'm not attracted by who they are.