The Edit
Notes for layered undertones.
Practical rules for women whose undertone, contrast and features come from more than one place. Each note points to a piece from the collection.
Same two people, same day, two lights. If a color works in both, it belongs in your palette.
Find your white first
Hold printer paper under your chin, then something ivory or cream. If pure white makes you look grey, your white is a step warmer. Olive and neutral skin usually wants milky white over optic white.
In the edit: Reformation poncho in fior di latte
Check every color in two lights
Take one photo by a north-facing window and one at golden hour. If a color works in both, keep it. If it only works in one, it's a "sometimes" color, not a palette color.
In the edit: Sisley mist for the reset in between
Olive is often misread as cool
Next to white paper, does your skin look slightly green or grey? That's olive. Standard drapes often push olive skin into a cool season; try the warmer sister season before you decide.
In the edit: Prada silver mesh for cool-olive days
When your undertone is neutral, add sparkle
Metallic and crystal finishes reflect the light around them instead of committing to warm or cool. They are the easiest finish for skin that reads two ways.
In the edit: Jimmy Choo Love 85 in white and crystal
Match mascara to your contrast, not your hair color
Dark lashes and brows against lighter skin is high contrast: deep black works. If you lighten your hair, keep the black on your top lashes so the eye stays sharp without looking heavy.
In the edit: Sisley So Intense in Deep Black
Line for the lid you actually have
Hapa siblings can have different lid shapes. With a monolid or low crease, look straight ahead in the mirror before you draw. Tightline the upper lashes and build width at the outer third.
In the edit: Sisley Ligne Noire eyeliner