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October 2013

Fall haul!

Given yesterday's pictureless post, I thought I'd provide some eye candy today.  I'm taking a break from Museum-worthy items to share my fall 2013 haul, i.e. items I'm going to actually wear rather than exhibit (these go in the "stash", not the collection.)



Nails:  Laura Mercier Bewitched, Deborah Lippmann Rolling in the Deep, Jin Soon Azurite, Obsidian and Jasper, Zoya Payton, Flynn and Storm:


Eyes:  MAC Eat, Love and Beluga eye shadows, Chanel Mystere quad, NARS Tatar, Snake Eyes and Ubangi Eye Paints:


Lips:  Estée Lauder Gilded Honey, Armani Rouge Ecstasy #100 (Androgino), MAC Sweet Succulence:



I think I'll start doing this once each season, as it'll help me keep track of what I've got (buying similar colors is one of the hazards of having a large stash - you tend to forget some of the stuff you already have.)  So stay tuned for more haulage posts.  :)

What are you wearing make-up wise this autumn?

Guy Bourdin and NARS

Um, wow.  I was pretty excited for the latest NARS collaboration with fashion photographer Guy Bourdin...until I actually started looking at his portfolio.  As a feminist I found it troubling, to say the least.  As someone who enjoys art and fashion, I can appreciate how groundbreaking Bourdin was in terms of fashion photography.  And I understand why Francois Nars chose him as inspiration for this collection, as it was Bourdin's work that inspired Nars to become a makeup artist - the way he captured the rich, saturated hues in many of his photos was truly genius. I recognize that the collection isn't meant to glamourize violence against women but rather to celebrate the bold colors in Bourdin's work.


I'd say about half of the Bourdin photos I've seen portray violence against women, and another sizeable portion seem to signify that women are nothing more than blow-up dolls to be used and discarded.  I could even consider overlooking these disturbing images if they were part of a larger body of work that didn't glorify dead/objectified women, but I found nearly all of his photos to be fairly repugnant.  I could also perhaps consider separating the images from Bourdin himself - just because his photos dehumanize women doesn't necessarily mean he is a misogynist.  Unfortunately, that's not the case on that front either.  He was just as anti-woman as you would suspect from his photos.  Maybe it's because I'm from a different generation.  In the '70s these images would have been considered "daring" and "pushing the envelope".  In 2013, using offensive pictures to sell something isn't a novel idea.  The "edginess" of showing a woman stuffed headfirst into a trashcan has long worn off; this image and others like it are solely abhorrent.

In my cursory research on the matter I found that I'm not alone in my dismissal of this collaboration.  These bloggers said it better than I could, so rather than write any more about this I encourage you to read their thoughts on the topic:  Temptalia and InTruBeauty.

What do you think?  Will you be passing on this collection?

MM Fall 2013 Exhibition


2013 truly was/is the year of punk revival, and since punk style and subculture are near and dear to the Curator, I decided to devote the fall exhibition to this glorious trend.  It's a smaller exhibition than in years past, but I was committed to the theme and didn't want to do a bigger exhibition with non-punk-inspired pieces in it.  This is basically a long way of saying I couldn't reconcile some of the fall pieces we've seen (Chantecaille Wild Horses palette, Dior Bonne Etoile) with the punk trend, and decided to sacrifice size in exchange for a more cohesive exhibition.  Since it was on the small side I couldn't really go into the history of punk makeup, which would have been great to incorporate somehow, but I think overall it works. 

So many magazine images inspired me.  I was enthralled by the emphasis on plaid, tweed and houndstooth and the punk update most of the items in these fabrics received.





And as you can see in the exhibition, I added some magazine pages at the top - these were my favorite images.

MM fall 2013

MM fall 2013 top shelf

MM fall 2013-bottom shelf



Magazine images, left to right:





Top shelf, left to right.

Dior 5 Couleurs in Rose Ballerine and Les Tissages de Chanel in Amber:




Sephora Drop Dead Gorgeous makeup brush set:



Do you not love the skull pattern on the handles?!


Ardency Inn Punker Studs:





Givenchy Ecrin Privé palette:


Bottom shelf, left to right.

Lise Watier Tartantastique eye shadow palette:




Deborah Lippmann nail polish:




MAC Rebel Rock postcard and Benefit Rockateur blush:



Sephora eyelash curler and Urban Decay nail polish in Vice:




Thoughts on the exhibition?  Are what do you think about the punk trend this season?  When it comes to badass details like studs and skulls and chains, I can't get enough!

Mini-trend: woodland wonderland


Woodland creatures have been trending strongly in the past 2 years within interior design and fashion.  A particular animal may go in and out of style - first squirrels were the next big thing, then owls, which were followed by foxes.*  (The latest craze, apparently, is hedgehogs.)  But now, in late 2013, pretty much any forest-dwelling critter is still deemed fashionable whether it's on a pillow, ring or sweater.  It makes sense that cosmetic companies are latching on this fad with a spate of limited-edition products adorned with various woodland animals.

Last year, the always cutting-edge Paul & Joe was the first to carry over the woodland creatures trend into cosmetics with a holiday set featuring deer and squirrels nestled in lush snowy foliage.  


This proved to be the foundation for animal-themed makeup collections in 2013.  First to arrive was the Body Shop's spring collection designed by British singer and X-Factor winner Leona Lewis. 

(images from thebodyshop.com)

More recently, Marks and Spencer introduced their fall Wanderlust collection.  Deer, rabbits and wood nymphs abound in a wintry forest.  (Thanks to British Beauty Blogger for her post on this collection.)



(images from marksandspencer.com)

Essence also used deer in their Oktoberfest-themed collection for fall. 


(images from chicprofile.com)

And just a week or two ago I spotted this owl-shaped lip balm over at Musings of a Muse.

(image from npw-usa.com)

But the collection that really takes the woodland creature cake is Cosme Decorte's holiday 2013 collection, which I found via A Touch of Blusher.  (I would give my eye teeth for this set but I don't think there's any way for me to buy it in the States.)  The three-piece boxed set includes blush, eye shadow and lip gloss with birds, deer, rabbits and squirrels frolicking amidst star-topped trees and fanciful, swirling flourishes. 

Cosme-decorte-holiday 2013


(images from cosmetics-medical.com)

So what do you think of these items and the greater woodland creatures trend?  The husband and I are partial to squirrels, but I really like all little forest creatures scurrying about different design avenues, especially for fall and the holiday season.  I don't know whether it's because of their fur or because I associate them with a warm, peaceful cabin in the woods, but they evoke a sense of coziness for me. 

Curator's Corner, 10/20/2013 (plus 1st marathon recap!)

CC logoLinks from this week and last, plus a recap of my first marathon.  :) 

- If I ever re-do the Sweet Tooth exhibition I'll have to steal this idea of using candy alongside its analogous makeup

- This Jezebel article on makeup's meaning is sort of bad news for people like me, who enjoy wearing lots of makeup in dramatic shades.  Sorry, but the minimalist bare-faced look just isn't for me.

 - Metallic makeup isn't just shiny and pretty to look at.  Apparently it can also control various electronics

- Face bras?  Seriously?

- I love when '90s nostalgia collides with beauty.  Relive the best 5 beauty scenes from Clueless with XO Vain, and find out what fragrance Mrs. Mia Wallace would wear over at Beauty Blogging Junkie.

And now, I will post a recap of my very first marathon!! 


You may remember last year I ran the half marathon at the Baltimore Running Festival and hoping that this year I would be one of the people with the "full" sign on their back.  Many miles later, with a lot of blood and sweat along the way, it happened.  (I do have photographic evidence of the blood and sweat but decided to spare you and not post it.)  Interestingly, I also ended up wearing the same shirt I wore to the half last year.


I was so nervous I ended up running faster than I normally do, but I had no idea until I checked the Runkeeper app on my phone around mile 6.  I thought it was wrong and just ignored it.  But when I got to the halfway point I saw the husband (and the great sign he made for me!) and he told me I had in fact been going faster than usual.  I was so happy to see him.


That photo was taken through the sign he made for me - in the shape of Jeero, Museum Advisory Committee member and my official coach. 


The next half was rough...lots of hills and I got really tired around mile 16.  Fortunately the last 3 miles or so are mostly downhill or flat.  Here I am heading towards the sweet sweet finish line.


I was so happy my parents and mother-in-law came to see me cross the finish line!  My mom kept saying she couldn't believe I did it.  I understood since I couldn't believe it either!  Plus, my mom remembers all those years of me struggling through gym class and her having to call the gym teachers to beg them not to give me a failing grade...and now I run marathons.


I have to admit, I was kind of terrified for the next 24 hours or so.  I was really nervous before the race and fine during it, but once I finished I was afraid I would keel over from exhaustion, that I had pushed myself too hard, that my body couldn't handle a full marathon and that my heart would just stop.  I was more or less on the verge of a panic attack till the next day, when I figured that if I had made it through the night I was probably in the clear.  Odd, but I guess if you're as wound up as I am it made sense to worry about such a thing.  I wouldn't be me if I didn't worry about everything in the whole wide world!

Some observations and fun facts:

Best sign I saw while running (besides the husband's, of course):  "Run, Omar's comin'!"  So perfect for Baltimore.

Craziest thing I saw:  a guy in a Dunkin' Donuts costume who was also running the full marathon.  I have absolutely no idea how he managed to run the entire time being dressed as an enormous coffee cup.

Number of people wearing Lululemon, including me:  5.

Number of people wearing Under Armour:  26,995 (there were about 27,000 runners total.)

Worst stretch:  between miles 16 and 19, where it was pretty much all uphill.  I ended up walking most of those 3 miles.

Best stretch:  Besides the few yards to the finish line, the best part was around miles 5 and 6 because a.  it was downhill and b. part of my regular training route.  Running along a familiar street helped ease the nerves.

Post-race meal(s) - slice of pepperoni pizza about 2 hours after I got back from the race; then a cheeseburger with bacon and a fried egg, french fries and an ice cream sundae with bananas (need that potassium!) and peanut butter sauce.  Then the next morning I went to brunch, which included migas, home fries and 2 mimosas.  It's safe to say I ate back all the calories I burned and many more.  Oops.

Despite the drizzly, humid weather I had a good time.  I was pleasantly surprised that there were still so many spectators out on the course by the time I finished, and like last year the race was well-organized with plenty of volunteers.  Also, I had a super secret time goal and I beat it by 4 minutes, so I was really happy with that (dare I say I was proud of it?).  Finally, for all the kids who made fun of me in gym class, the teachers who berated me for being weak and slow and uncoordinated, to them I say:


I'm still slow and uncoordinated, but I've got enough stamina and just enough coordination to put one foot in front of the other for 26.2 miles.  So they can take their stupid jock worship and silly Presidential Fitness tests and stick 'em where the sun don't shine.

Barring injury, I plan on running more marathons...just 1 or 2 per year and definitely no ultras, but I want to run more and get faster. 

What were you up to this week?  And do you run? 

MM Musings, vol. 13: Storage

Makeup Museum (MM) Musings is a series that examines a broad range of museum topics as they relate to the collecting of cosmetics, along with my vision for a "real", physical Makeup Museum.  These posts help me think through how I'd run things if the Museum was an actual organization, as well as examine the ways it's currently functioning.  I also hope that these posts make everyone see that the idea of a museum devoted to cosmetics isn't so crazy after all - it can be done!

I bet you're wondering where the Curator keeps the Makeup Museum's collection. (At least, I hope all two of my readers are curious.)  So today's installment of MM Musings is devoted to the topic of storage. 

No museum can really escape the issue of where to store its collection; it's not as though curators and directors can simply toss pieces into the garbage if they don't want them anymore.  While museums do regularly deaccession some of their works, this is not the most efficient way to make room for more items.  However, the bigger storage issues museums face relate to organization and security, not so much lack of space.  When a public institution such as a museum is planned, obviously the people behind it ensure the location they choose has enough room for a growing collection.  Some museums also are able to obtain grants for either off-site storage spaces or additions to the current location should their collection outgrow the existing storage space. 

But for a private collection that grows quickly such as the Makeup Museum's, finding enough space is definitely a challenge.  While makeup items tend to be small, I'm adding things at a very fast pace so my designated storage spaces fill up rapidly.  And since the Museum does not yet occupy a public space, I can't exactly jump on the "visual storage" bandwagon that's so popular these days (my next MM Musings post will cover that.)  Everything is stored at home in several different spots.

Now I will take you through the dark underbelly of the Makeup Museum and see if you can help me come up with a storage solution that doesn't involve off-site space or deaccessioning some of the collection (the horror!).

First I'll take you through the makeup room.  Actually it's technically a master closet, but since most of my makeup is stored there, including the stuff I actually use, I refer to it as the makeup room.  (This is also the room the husband built to convince me to move in...he had NO idea what he was in for.)

The closet and drawers are from Ikea, the Stila poster is from the kind salespeople at the Columbia Mall who let me take it.  I was upset at the thought of it being destroyed after it was taken down so I asked if I could have it when they were done with it. 


Here's the drawer where I store Paul & Joe and Stila.  I store these brands here because they fit better here than they do in other drawers - you'll see why shortly.


Hey, Mummy Babo!  Get out of there!  I guess the little scamp couldn't resist photobombing my storage pics.



The very top drawer stores makeup from brands A-K.  This was nearly impossible to photograph because it's up so high - even on a ladder I couldn't get a good picture.

It starts with A's (Anna Sui, Armani) on the left and continues to the right.





MM top drawer


The rest of the drawers hold clothes as well as my stash (the makeup I wear rather than display), and on top of the closet are storage tubs holding miscellaneous seasonal items - summer shoes, mini Christmas tree, etc.  So unfortunately I think the rest of that closet is off limits in terms of making more storage for the Museum.

The rest of the collection is stored in another closet, although this one is much smaller and regrettably, probably the ugliest space in our home.  It's in a weird little niche off a hallway near the bedroom and we keep all kinds of random stuff in there - flashlights and other tools, cleaning supplies, physical therapy/fitness items, etc.

I think these drawers are also from Ikea.  Originally the drawers were designated just for Shu Uemura, but I had to stack some MAC bags on top.



Now the individual drawers, which as you can see, are pretty full.




This drawer has some Paul & Joe bags that couldn't fit in with the other Paul & Joe stuff, along with some other makeup bags.  The black one in the front of the drawer (on the left in the pic) is a tote from the NARS Melrose boutique, while the purple one next to the red Paul & Joe kitty bag is from Chantecaille.


The last drawer contains postcards.


Another set of drawers sits to the right of that set.  I cleared off the top but normally we have workout stuff (weights, etc.) sitting on it.  Why, hello Swiffer!


The first drawer has totally random stuff from all different brands - brands that aren't well represented in the Museum's collection so far, i.e., ones that I don't need entire drawers for yet.


The rest of the drawers contain all my LUSH bath goodies.

Finally, there's another cart of drawers all the way in the back.  I've resorted to putting more Paul & Joe stuff on top.


First drawer contains the L's - Lancome and Laura Mercier.


Then we move into MAC.




Here's where the organization really falls apart.  I think this drawer originally just had Too-Faced palettes, but with MAC's constant limited-edition offerings I had to put MAC stuff in here too.


The rest of the Too-Faced collection and some Tokidoki:


Then, the bottom-most drawers, which I have trouble reaching because this cart sits behind another cart where we keep home repair stuff, I ended up shoving NARS stuff in there, along with more random items (Milani, Laduree, Urban Decay).  Clearly this is no longer alphabetical.  I think I did it this way because I wasn't expecting NARS to ever have LE items, so I just went straight from MAC to Too-Faced and instead of moving NARS up one drawer and the Too-Faced stuff down, I just put them in here.  Lazy I know. 



Then, finally, more bags and other memorabilia.


So...any suggestions how to make more room besides getting rid of things or moving them off-site?  In looking at that second cart, I think I may have to strip it of the LUSH items and move them somewhere else - I can probably put them in one larger bag somewhere, there's no need for them to be spread out in the drawers.  Another option is to attempt to put some things into the storage tubs on top the of the closet in the makeup room, but that really isn't easily accessible.  The stuff that's up there now are all things I need only once or twice a year, but with the Museum's exhibitions happening at least 4 times a year and me constantly putting away things that aren't on display I need easier access. 

Unfortunately that's all I can think of at the moment.  We either need to move to a bigger house or I need to get a public space!

Thoughts?  (Other than "you  have too much makeup")?

Keiichi Tanaami for Sephora


Sephora is, I believe, my favorite store ever.  I was pleased to see them celebrating their 15th anniversary earlier this summer.  So I was mystified as to how I completely overlooked a great collaboration with Japanese artist Keiichi Tanaami in honor of this milestone. 

(images from theglossy.sephora.com)

Keiichi Tanaami (b. 1936) studied at Musashino Art School.  In 1968 he visited the U.S. for the first time and made the acquaintance of an artist who would greatly influence him:  Andy Warhol.  Most of his work was for advertising and record covers.  In 1975 he became the art director of Playboy in Japan, where he revolutionized the large-format magazine.  Hallucinogenic images of odd creatures and use of vibrant color served as the hallmarks of his work and were derived from a variety of sources, including his childhood in Japan and American pop culture.  He recalls in an interview, "Japan went to war with the US when I was about seven. During those years no one had the time, the luxury, or the interest in cultural activities. So I don’t remember being taken to museums and there weren’t many books being published. It was a time of crisis, war time, not the time to enjoy culture. In that sense, my core influence is the comic books I enjoyed as a kid, because there was nothing else...I went through various styles, depending on what I was interested at the moment, my past styles simply mark my changing interests. Still, I came to embrace the pop-induced style, I work with now, later in my career. Earlier, I played with more abstract, simplified forms of expression. I remember being shocked by my visit to the US in the 60s, not only by Warhol and American Pop Art, but also by Robert Crumb, the comics, the whole sub-cultural scene. I found the latter much more interesting than the so-called Fine Art and was deeply affected by it. In the end I decided to follow my original affection towards sub-culture and Pop."

Tanaami's strange images were further fueled by a bout of pleurisy in 1981.  While hospitalized, he had a high fever and experienced vivid hallucinations from the drugs used to treat him.  "I saw some surreal images, which I couldn’t understand if it was a dream or a hallucination - they were projected on a white wall in the room. At the same time, a crooked pine tree outside the window was growing up in the sky, just like the painting from Dali...I wrote all these down on 8 notebooks in the end, and from these, many ideas and images came up."  This prolific output was captured in exhibitions and several books over the years, including Spiral and Daydream.  Nowadays, at age 77, Tanaami continues to team up with various companies and still does album covers

Sephora VP Lina Kutsovskaya describes the collaboration thusly:  “Keiichi Tanaami-San is a very important figure in the pop art world and we were honored to be working with him on this animation for Sephora...he was fascinated with the beauty products and how to interpret them for this thematical birthday."  Ultimately, the idea was to instill a celebratory, carnival-like feel within the designs.   

In addition to the above graphics, Tanaami came up with 15 creatures for Sephora, each representing a different beauty product.  (I doubt he was the one who named them, however - the monikers definitely sound like the work of someone in Sephora's marketing department.)  These were made available as avatars to members of BeautyTalk, Sephora's online community.  In an interview with Ariella Gogol, Senior Writer at Sephora, Tanaami states that his characters "are inspired by my dreams and memories, by the monster encyclopedia, and by movies and comic stories. They have secrets surrounding their births, and they play together. By combining multiple patterns, I tried to animate Sephora-like elegance, enchantment, glamour, beauty, and eros, but in a tense atmosphere...I created almost all of the characters without any outside influences, with the exception of some patterns that I reworked from a Japanese painter in the Edo period (18th Century). Also I love the cover art of this science fiction book that was popular in the 1920s; I was significantly affected by it. I don’t give names to the characters, but I have considerable feeling for every pattern. They all may be my other self."

I can't tell whether these are cute or creepy...both?



(images from pinterest.com/sephora)

Here are the last three that for some reason didn't get quite the same design treatment as the others.

(images from community.sephora.com)

Even though I find them to be a little scary, I like these monster girls - psychedelic and colorful and incredibly bizarre.  But I think the coup de grace of this collaboration is the gigantic sculpture that was recently placed at Sephora's 9th Avenue location in New York City. 

(image from refinery29.com)

Named the "Kannon of Beauty", the sculpture is influenced by Kannon Bosatsu, or the "God of Mercy" in Japanese Buddhism.  Tanaami explains, "It is said that Kannon Bosatsu has 1,000 arms, extending mercy to 1,000 people. I have chosen to use only six hands, with each functioning as a magical device to enhance beauty."  Additionally, the sculpture ties into the theme of beauty and Tanaami's underlying vision for the collaboration:   "The work is based on the story of a girl living in a monochrome world; she is sucked into a monster’s eye that leads her to fall into the underworld. After her dazzling adventures in the vividly colored alien land, she discovers a castle made of cosmetics. Numerous lipstick-butterflies are astonished at her and start dancing," he says.  Three of these "lipstick butterflies" are perched towards the bottom of the sculpture.  I'm very impressed by how well his work translates into 3D; then again, Tanaami is known for being able to move seamlessly between print, animation, sculpture, photography and film.  (Side note:  I'm wondering what will happen to the sculpture next year when it's taken out of the store...it would make such an excellent piece for the Makeup Museum!)

While normally I don't like it when an artist recycles his or her work for a cosmetics collaboration, I make an exception for Tanaami.  "Gabby Gail" is the same maniacally grinning ball you see at the top of left of this print:

(image from butdoesitfloat.com)

And "Out-There Olga" is the same creature as the dotty, spiky-haired girl seen at the bottom of in CO2 (2009):

(image from illustrative.de)

The black and white ocean at the bottom of the Sephora graphics also appear frequently in his work, as in Lost and Wandering Bridge Series 3 (2011):

(image from azito-art.com)

The Sephora sculpture reflects his fascination with Japanese Buddhist statues and is similar to this  2009 sculpture, Kannooon

(image from azito-art.com)

It doesn't bother me that he re-uses the same characters that appeared in previous work.  I feel as though they've been with him for such a long time, it would be odd for him to suddenly come up with brand-new characters just for one collaboration - they're "his" creatures.  They function as a sort of signature and capture his identity as an artist. 

Anyway, I really loved this collaboration and I wish there were products available for purchase!  However, I think the lack of sellable products is partially why this collaboration is remarkable.  Companies team up with artists for a limited-edition piece or collection, but I don't think they've ever collaborated just for promotional purposes, i.e. create artwork to celebrate a milestone rather than put it on merchandise to sell.  Plus, Tanaami's work is just so...weird, I can't help but like it. 

What do you think? 

Couture Monday: written in the stars

The star (haha) of yesterday's Color Connection is also the subject of Couture Monday.  The Bonne Etoile palette uses a motif Christian Dior believed helped seal his fate as a fashion designer.




As the story goes, in early 1946 Dior was debating whether to open his own couture house.  Wandering along rue du Faubourg Saint-Honoré, he nearly tripped over something in the street:  "Bending over, Christian Dior picked up an object that would restore his faith: a star, the one that will propel him into the firmament of haute couture and luxury, a guiding star showing him the path to follow. At that moment he knew his answer would be 'yes', that he could no longer ignore the hand of fate."  The star, though rusty, is still preserved at his house in Normandy.

(image from dior.com)

While the star was certainly important to Dior, it was never as ubiquitous in his designs as, say, the cannage pattern.  I could only find a few things that displayed the star motif, like this bracelet:

(image from dior.com)

There was also a "Lucky Star" palette offered for the 2005 holiday season.  I couldn't find any decent stock photos but you can see what it looks like here.

As for breaking out the star for this season's collection, there was no tie-in to the fashion.  The fall ready-to-wear show contained pieces featuring the early works of Andy Warhol, and the couture show had nothing to do with stars or even a sort of "mystical" theme that was the inspiration behind the makeup collection.  According to Dior's online magazine, "Mystic Metallics defines a mysterious universe in which the Dior woman as conceived of by Tyen, director of color creation, is resplendent in subtle and iridescent hues, as if by magic...'The harmonies I've created for this look reflect the galaxy's mysterious colors. It's a voyage from the earth to the moon,' claims Tyen."  I agree the Bonne Etoile palette represents Tyen's vision, but it's entirely different than what Raf Simons sent down the runway. 

What do you think about this palette and the star pattern?  While I don't think it's the greatest expression of something that was very dear to Dior, the colors are truly stunning.

Curator's Corner, 10/6/2013

CC logoLinks are a little tardy this week...trying to get the fall exhibition up!

- Proenza Schouler will be designing a collection for MAC in the spring.  Wouldn't it be cute if there was a palette with a PS1 bag on it, a la Dior's Lady Dior palette

- Loved this round-up of vintage celebrity beauty ads at XO Vain, especially the last one.

- "If you have a double chin or superfluous flesh, rub vigorously to wear away the fat by friction!" - as quoted in a beauty book from 1910.  Ha!  Check out more Edwardian beauty advice via Glamour Daze.

- Beautylish discusses an interesting religious corollary to Inglot's "breathable" nail polish.

The random:

- My favorite ode to fall (which I also posted last year) now has a mug to accompany it. 

- Some people, unfortunately, aren't feeling the love for decorative gourd season.  To them I say:  long live the PSL!

- Splitsider talks to H. Jon Benjamin, the voice behind Bob Belcher of Bob's Burgers.  Too bad he doesn't discuss my favorite character he played (Coach McGirk of Home Movies), but it's still a worthwhile read if you're a fan.

What's been up with you this week?