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Melt Cosmetics Amor Eterno Gel Liners Reviews & Swatches




Melt Cosmetics Inmortal Gel Liner ($19.00 for 0.088 oz.) is a deep black with neutral undertones and a matte finish. It had a longer dry down time, so for those who want a more smudgeable product or something that has enough fluidity to work as both a gel eyeliner as well as a base product, this is definitely in that vein.

The texture was moderately emollient, gel-like (lighter-weight than a true cream), and applied evenly. It had opaque color coverage in a single stroke that stayed on well for 10 hours without fading or thinning on me.


Melt Cosmetics Cultura Gel Liner ($19.00 for 0.088 oz.) is a muted, light-medium orange with strong, yellow undertone and a matte finish. It was richly pigmented in a single, fluid stroke, which applied evenly across skin whether applied with an angled brush or a flat, synthetic brush (as one might to use it as a cream base).

The texture was smooth, lightly creamy but more emollient and a bit “airy” in a way–very true to a gel formula. It took slightly longer to dry down, but it didn’t seem prone to migrating or moving around as it did so. Once in place, the color wore well for 10 hours without fading or thinning.


Melt Cosmetics Fortuna Gel Liner ($19.00 for 0.088 oz.) is a deep, emerald green with cool undertones and a matte finish. It had nearly opaque pigmentation in a single, fluid stroke that had a longer dry down time, so it was more readily manipulated and smudged, but I did feel like there was some hang time where I was really waiting for it to mattify (it appears glossy initially).

The consistency was more fluid, more gel-like than a cream, and it did seem to have a fair amount slip so it was hard to get a really even application in a single but it built up well with a second layer. It stayed on well for over 10 hours without fading or thinning.


Melt Cosmetics Santos Gel Liner ($19.00 for 0.088 oz.) is a brighter, medium-dark blue with strong, cool undertones and a lightly sparkling, metallic finish. It had good color coverage in a single layer, which was best built up with a second layer.

It was harder to get a really crisp, even line of color as the formula was rather emollient and slid around readily–almost too fluid–but on the flip side, it would make a nice cream eyeshadow or base because of that slip (the larger swatch shows a more even application). Once it dried down, it lasted well for 10 hours without fading or thinning.


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Recent Re-Buys | British Beauty Blogger



[affiliate/samples] Although I am sent a lot of different products, occasionally, some go on to turn me into a customer. I’m sure I’ve mentioned a couple before but I thought I’d show you what I’ve purchased myself as a result of testing.

Recent Re-Buys

I stocked up on Black Friday on Complexion Rescue, £29, HERE (non aff HERE) with two tubes – I really do squeeze the very last from them since its in daily use and I run out quite quickly. I’m on the very last of my BioEffect EGF Serum, £125 HERE (non affiliate HERE ), which I try to buy at airports or in-flight because it’s just a bit of a saving and while I don’t use it daily any more, any time my skin needs a moisture drench and to look a bit dewy, out it comes. I wore it yesterday actually and a friend commented on my skin (positively!).

The Glossier Gloss in Generation G has become a firm favourite – I love the light red shade and of course, am always happier with gloss than lipstick. It doesn’t upset or dry my lips and I can apply it as many times as I want – and do. A bit of a snip at £11 HERE although postage is £4. Finally, the Origins Mega Mushroom Micellar Cleansing Water, £30 HERE) non affiliate HERE). I used this over the summer and then realised, once finished, that I was missing it – it’s a great cleanser for removing make up and my lazy TV cleanse nights and seems to be very skin softening for my skin. It’s soap and alcohol free with a berry ferment base. I’m still not 100% sure on ferments but this particular micellar certainly is better than any I’ve tried. I’ll still revert to BioDerma Sensibio (my local chemist suddenly started stocking it) in between times – oh, I’ve just realised that counts as a recent re-buy! It’s HERE for £19.50 for a huge 500ml bottle with a reverse pump (which means you press your cotton pad down onto it and press). Non aff HERE. 

*all products are sent to me as samples from brands and agencies unless otherwise stated. Affiliate links may be used. Posts are not affiliate driven.


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Dianne Blell: Beauty, Archetypes, and Artifacts



Dianne Blell was surrounded in her Bridgehampton studio by photographs from her four-decade career.

Dianne Blell photographs beauty: the beauty of ideal love, the beauty of the broken and ruined, and the beauty of art history. Her iconic series “The Pursuit of Love” and “Desire for the Intimate” mine Neo-Classical art, classical mythology, Moghul miniatures, and Hindu folklore, appropriating images and characters and restaging them in elaborate photographic tableaus.

Her most recent images focus on single objects — antique chairs, a miniature tree — often worn or damaged, presented in isolation against a black background as if “in a high-end antique auction catalog.”

Ms. Blell traces the direction taken by her photographic work to a lecture given by Tom Marioni, a San Francisco artist and founder of the Museum of Conceptual Art (MOCA). She was a student at the San Francisco Art Institute in the early 1970s, and at first “I was uneducated,” she explained recently at her Bridgehampton studio. “Then I heard Tom talk about Conceptual Art and the importance of showing process, and for me it was as if the world had opened up.”

At that time happenings and performance art were figuring prominently throughout the art world. “All that was left afterward was the photographic documentation. And I thought, why not just address the camera immediately, and I started creating things for the camera alone.”

An early series from 1979, “Charmed Heads and Early Cupids,” consisted of nine photographs that referenced classical portraits of women from art history and fashion photography. Miss Blell, styled with fashions from the recent collections of New York designers, was the model for the images, which were accompanied by photo and styling credits.

In one image, “Pursuing Urban Cupid,” she is reaching toward the sky for a cherub suspended just out of her reach. Shot on the roof of her loft building in the financial district, she is set against open sky and the World Trade Center, which was less than 100 yards away. Another image, “Future Perfect,” shows Ms. Blell winged, like Cupid, with the Three Mile Island nuclear plant in the background.

“Origin of Drawing” from “The Pursuit of Love” series Dianne Blell

Ms. Blell grew up in and around Chicago. It was in Wilmette, Ill., at the Convent of the Sacred Heart — “I was a very edgy kid, that’s why they sent me to the convent” — that her interest in the classical began to take shape. Early on the students read “The Odyssey,” “Beowulf,” and memorized poetry, and she discovered mythology. “To me that was the most wonderful thing, and it was full of images.”

The family moved to La Jolla, Calif., when she was a teenager, and it was at the Art Center in La Jolla, now the Museum of Contemporary Art, San Diego, that she was introduced to a sophisticated art world. “Artists came there to teach or have gigs, and the curators gave shows to them. I met Larry Bell there, John Altoon, Sol LeWitt, Ed Kienholz.”

While taking classes at the San Diego College for Women, her parents divorced and she was left to her own devices. She moved to Los Angeles and worked as a secretary for a year and a half before deciding she wanted to see the world and took a job as a flight attendant for Pan Am.

Four years later, in 1970, she enrolled at the San Francisco Art Institute and earned a B.F.A. and an M.F.A. in three years. “I wasn’t doing photographs then, I was trying to paint. That’s what you did. I didn’t know a thing about paint.” It was there that Mr. Marioni’s lecture set her on the path toward her mature work, and, after graduation, to New York City. In 1978, while still living in San Francisco, she found the loft on Cedar Street where she still lives and works when not at her house in Bridgehampton, which she purchased in 1993.

The series “Various Fabulous Monsters” and “The Pursuit of Love” were shown at Leo Castelli Gallery in Manhattan in 1983 and 1985 respectively. The sources for those works included paintings by Jacques-Louis David, Jean-Auguste-Dominique Ingres, Joseph-Marie Vien, Angelica Kaufmann, and other neo-classicists.

The art critic Donald Kuspit said of those two series, “Making us focus and rethink the style and meaning of the paintings and prints by restaging them as photo-tableaus, she breathes new aesthetic life into them.” Ms. Blell recreated the paintings by making the costumes and fashioning sumptuous sets in her loft from paper, cloth, and canvas.

“The sets were rooms. When they were finished and the photographs taken, I would have dinner parties in them. It was like eating in Pompeii.” The figures in “The Pursuit of Love” series are dressed, or not, as in the source paintings. Because the images were created in real time, before digital software was available, each scene was diagramed, and the models rehearsed and were captured with hundreds of Polaroid images before the final 4-by-5 shots were taken.

“I started out with the whole idea of the female form and desire in art history and the search for the ideal and beauty. I wanted to show that the camera in this day and age can translate old values and old romance and appreciation for classical pieces and history. I’ve been accused of being sentimental and romantic, as if I didn’t know what I was doing. I’m taking a camera and reactivating it as a human being.”

She continues to shoot with 4-by-5 film to this day, but the composite images in the “Desire for the Intimate” series, created between 2000 and 2008, were made by scanning separate 4-by-5 images and combining them digitally. She posed the models for Rada and Krishna individually and, as with the earlier series, created elegant sets based on Hindu miniatures. While the models are shown in intimate and sometimes erotic poses, “They never met. The people were Photoshopped into the sets.”

“I was always interested in medieval art and Moghul miniatures, and I was very interested in the human condition and the search for the ideal in humankind. I just locked in to Rada and Krishna as the great archetypal symbols of courtship.”

Dianne Blell pursued Cupid in this photograph from her “Charmed Heads and Urban Cupids” series. Dianne Blell

The series took nearly a decade to complete because of 9/11, which destroyed the first sets and other contents of her studio. Ms. Blell photographed the aftermath of the destruction from the rooftop of her building. Some of those images are now in the collection of the 9/11 Memorial Museum.

At first glance, Ms. Blell’s “Tragic Chairs,” part of her “Artifacts of the Contemporary” series and shown last month at MM Fine Art in Southampton, seem to be a radical departure. However, “Vessel,” like the “Tragic Chairs,” consists of a single object, a cheap plaster stage prop of an urn, set against a black background.

“It’s from 1983. It was in my first show at Leo Castelli,” she said. “It has always haunted me. I had accumulated a taste for these sort of broken, fractured ormolu and fragments and things that were part of other things. They have stories to tell.”

She had been “fiddling around” with images of her six aging antique side chairs for five years. For “Tragic Chairs,” the photographs of the chairs are slightly smaller than life-sized “so they would be abstracted from reality but would still invite the viewer to sit down.”

After the chairs were photographed with a 4-by-5 camera, the images were scanned and cut out by a computer controlled process, printed in reverse on the underside of a piece of Plexiglas, and mounted on a seven-foot tall sheet of black dibond, an aluminum composite material.

As a result of the printing, cutting, and mounting process, “the photograph becomes a physical entity. . . . As such, ruinous life-sized pieces become topographic reliefs in a spatial void unconfined by their original and quotidian contexts.”

What links the most recent work to the earlier series is what Mr. Kuspit called the artist’s “positive attitude to desire,” whether the desire of lovers or Ms. Blell’s romanticization of the damaged. She pointed out that such artifacts decay and often outlive us, full of “a shared gravitas and pathos of ephemerality, mortality, and obsolescence. Perhaps they can be construed as self-portraits.”


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