Amazing Makeup Tips to Hide Flu Symptoms

Although flu can make your body weaker, there are great makeup tips that will help you hide it and make you restore your complexion's natural glow. Are you curious to find them out?

Makeup for Flu Face: Concealer

Concealer is essential when it comes to makeup for flu face. Just apply a bit on your red nose and no one will notice you've spent all night dealing with flu. Pick a makeup for flu face product that perfectly matches your type of skin and skin tone, and add it to your shopping list.

Makeup Tips for Flu Face: Lip Exfoliation

Sometimes, cold temperatures can also lead to chapped lips, due to constant wind and rain exposure. So, here's one of the best makeup tips for flu face: lip exfoliation. You should take a washcloth and wet it with lukewarm water, and then gently rub your lips to remove dead skin cells. Now you should use another makeup tip for flu face item: chapstick. Apply a coat of this relieving flu product and then add a bit of light color.

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Makeup Tip to Cover Cold Symptoms: Glossy Blush

Here's another great makeup tip to cover cold symptoms. After you gently wash your dehydrated complexion with an exfoliating cleanser, add a tinted moisturizer and define your makeup with a glossy blush. This lovely product will add a touch of natural color to your cheekbones and will make you glow.

Makeup Tip to Hide Flu Symptoms: Waterproof Mascara

If you want to find out another great makeup tip to hide flu symptoms , you should definitely wear a waterproof mascara. Unlike eyeshadows that can easily wash out, this beauty product will make your eyes look bigger and brighter. Plus, its water resistance makes it a great makeup for flu face product that you can wear both during the day and evening.

Anthony Vaccarello’s Graphic Eyes and Smooth Hair

“It’s minimalist, confident, sexy—but it’s also playful,” said makeup artist Tom Pecheux at the Anthony Vaccarello show in Paris this afternoon, referring to the deep midnight blue square of eyeliner he was carefully drawing onto the outer corners of each model’s eyes. He had settled on the look with the designe the night before. “We tried a red lip first, but it was too established,” he explained. “The collection is very graphic and there are a lot of triangular shapes. We wanted something sophisticated, rock ’n’ roll but still young. Anthony’s woman should have fun with her makeup.”

Models, a number of whom—like Anja Rubik and Malgosia Bela—are Vaccarello’s friends and supporters, certainly seemed to be enjoying themselves. Many of them slipped outside to a sunny patch of terrace with views of the Eiffel Tower before being coaxed back inside by members of his team, who were hard at work perfecting the tricky wedge shape. Pecheux was drawing it on freehand using a deep black powder (from Estée Lauder’s Pure Color Eyeshadow Duo in Moons) before going over it with a striking jewel-toned shade of cobalt (the company’s Pure Color Gelée Powder in Fire Sapphire).

To balance the rest of the face, he kept the complexion fresh—which was no small feat considering the steamy indoor temperatures. “I’m using a drop of Estée Lauder Advanced Night Repair serum and mixing it in with the foundation,” he explained. “It’s a trick that makes it stick, even in the heat.” Afterword, he swirled a soft wash of the rosy bronze blush (Estée Lauder Pure Color Blush in Sensuous Rose) under the cheekbones and dabbed a bit of natural flesh-toned lipstick (Estée Lauder Pure Color Envy lipstick in Insatiable Ivory, out next March).

Healthy, glowing skin, of course, is a central part of the Anthony Vaccarello formula—and there was plenty of it showing below the neck, too, thanks to the designer’s cutaway blouses and slit-to-the-hip skirts for spring. In a way, said hairstylist Anthony Turner, that body-consciousness had even impacted the hair. “There’s something Amazonian about the girls,” he said of their long, gleaming limbs. “And there’s also something sporty. We were talking about early ’90s Cindy Crawford, a very American woman.” He wanted to create the feeling of hair that had been casually combed back away from the face with the fingers, “but still uptown rather than downtown.” After combing L’Oréal Professionnel Tecni Art Full Volume mousse through, he blew it “straight back” and then flat-ironed it for good measure. Before models took the runway, he applied the company’s Super Dust texture powder, then raked his owns hands through it for an authentic feeling.

The finishing touch before models walked down the runway? A coat of Estée Lauder Pure Color Envy Nail Lacquer in Red Ego (out in March) on toes—because, as Pecheux put it laughingly with a gesture toward their sky-high, lipstick-red stilettos for the runway, “this is not a woman who wears flats.”

Kohl-rimmed Eyes—and Rock 'n' Roll Attitude—at Versace

The aesthetic influence of California subculture—from the long, lank hair of West Coast skate kids to the bleached-out blonde of L.A. surf punks—was a recurring beauty reference at the New York shows this season. And from a quick survey of the backstage scene at Versace in Milan tonight, its gravitational force may be growing.

“It’s girl-boyish, that L.A. androgeny thing. Donatella was inspired by Stephanie Seymour and Axl Rose,” said hairstylist Guido Palau, referencing the notorious early-nineties couple, who embodied the hard-partying lifestyle of the Sunset Strip metal scene.

Still, it wasn’t Seymour—the famously bodacious model who appeared in more than a few house campaigns—that Palau was thinking of when prepping models for the runway.

“Remember how Axl had that long, straight, clean-ish kind of texture?” he said, referencing the Guns N’ Roses singer’s famously good hair, which he was loosely recreating by parting models’ freshly washed lengths down the middle, then drying it with his hands. Afterward, he blasted it with Redken Powder Refresh dry shampoo for a natural, lived in feeling. “It’s actually quite minimal for Versace, but it still relates back to the house codes in terms of rock ’n’ roll sexiness,” he explained.

Of course, what better way to channel the gritty, tough-edged cool of the Sunset Strip than with loads of black eye pencil? “We’re using it inside the eyes and then going back and tracing it along the upper and lower lashlines,” said Pat McGrath, who went back over it with a grayish brown shadow “for a more smoked out” finish. Of course, this being Donatella’s house, it still needed a dose of high-octane glamour. “We’re using false lashes—one set and a corner,” said McGrath of doubling up on the outer edges for extra impact. With a swirl of blush and a dab of lip balm, she sent models on their way to first looks, where racks of slim-fitted denim jackets, mid-riff baring leather crop tops, and tongue-in-cheek concert tees awaited their turn on the runway. “It’s cool, but still healthy,” she said of the look. “And very, very Versace.”

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