I HAVE had numerous emails asking me about New Year’s Eve makeup. It seems a good time to answer this popular question, which as always, questions the good old smoky eye. So, I’ve had a look at trend-based smoky eyes from shows Mac supported in New York, London, Milan and Paris to show you some of my favourites.

As it’s hard to know what anyone looks like while answering emails and the colouring of the person who is writing the email, I have gone for looks which can be adapted to suit any race and age. I love the backstage looks from Romeo Gigli and Emmannuel Ungaro this season.

Don’t worry if the model has different colouring from you, these looks suit everyone perfectly. Just wear a little less or a little more to make it your own and reflect your style. At Romeo Gigli the makeup looked quite magical in a kind of cinematic, Thirties silent movie way.

Graphblack Kohl pencil inside the eye is a must for this look. I have chosen colours that suit most, so for the lid, lighter, mid and mid darker skin tones, choose Vex eye shadow. For the socket and underneath the eye, Knight Divine eye shadow.

The key element of keeping this eye contemporary is taking a brown eye shadow and taking it all around the eye, so beyond where your Knight Divine finishes, and slightly into the inner brow.

For these skin tones I’d recommend Brown Down. For darker skins, keep it the same, but substitute Vex for Satin Taupe if you feel Vex is too light. Add a little Mac eye shadow in Shadowy Lady into lash line and substitute Brown Down for Embark. All skin tones wear little or no blush.

Choose from Jubilee, High Tea, Cherish or Double Shot on the lips, but choose a colour which looks muted on you. Your skin should look flawless and matte with this look.

At Emmannuel Ungaro, we saw a slightly different take on the smoky eye. Just like the Gigli-inspired look, this was super polished, and super beautiful.

This look can be worn as described for any tone of skin or colouring. Eyes are built up and winged in multi dimensional shadow. A seamless mix of Mac eye shadows in Handwritten and Carbon (to make a rich, ebony brown) pulled out from the eye socket. Fluidline in Blacktrack wrapped along the upper and outer half of the bottom lash lines, and a feathering of eye shadow in Fiction on the lid. Again, keep the cheeks and the lips soft.

Q What’s the best way to apply mascara? One of my New Year’s resolutions is to start looking more glam at work. But I don’t want to end up with panda eyes.

A Go for a texture that will best suit your look. A mascara with too much bulk or fibres can sometimes look clogged up if not applied well. The trick to overcoming this is to wipe your wand with a tissue on first application so the initial application isn’t too heavy.

You can then build upon that. When applying your skincare, don’t use too much eye cream close to the eye as it naturally draws towards the lashes and can break down the mascara formula, giving you that panda eyed look.

Mac does an impressive selection of mascaras which work excellently and aren’t expensive, which means you won’t mind replacing them every three months. Each is competitively priced at £10.

Pro Lash – lengthening, thickening, non-flaking, non-smudging, totally hardwearing. Gives you attitude.

Pro Longlash – Less dramatic than the Pro Lash, with a smooth silky finish. Also lasts all day. Makes lashes long and silky with no spikes.

Zoomlash – This instant volume mascara power-lifts the lashes into length and curls them up and builds them faster than you can wink. Precision control wand glides smoothly down lashes to provide a gorgeously silky upward sweep. Smudgeproof and long-wearing.

X Mascara – One of the originals, it builds dramatically longer, thicker and glossier looking lashes. The softer fibre of the oval-shaped brush delivers maximum payoff on the lashes.

For a perfectly groomed lash, curl with Mac Lash Curlers before applying mascara, then comb through with the 204 Lash Brush after applying mascara. All of these mascaras are easily removed with Mac Pro Eye Makeup Remover.

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3.20 Copyright (C) 2007 Alain Georgette / Copyright (C) 2006 Frantisek Hliva. All rights reserved."

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