Beauty at AWH Magazine treats makeup and hair as authored work rather than product placement. Pieces credit the artists, name the references, and explain how a face was constructed for a show, a campaign or a portrait. Suited to readers interested in image-making, not only in what to purchase.
Beauty as image-making: the artists who build a face for a show or a campaign, their references, their materials, and how a look reads in print.
In 1966, London's most photographed teenager attributed her signature eye to a childhood toy, not a makeup artist — a small, documented detail that explains why the look outlived the decade that made it famous.
Plucked to a line in the 1920s, bleached to invisibility on today's runways — the eyebrow as fashion's most reliable pendulum.
Behind every house fragrance stands a tiered keyboard of vials and a trained nose — the craft that turns a one-page brief into a bottle.
When a hairstyle holds a built form — a 1960s beehive, an engineered runway updo — hairdressing crosses into the territory of sculpture.
From face paint at art-school parties to creative direction at Byredo and her own label, a career that treats beauty imagery as culture, not polish.
A Korean ideal of translucent, hydrated skin crossed into Western magazines and quietly dismantled a century of matte.
The makeup artist who turned a gold-leafed face at Gianni Versace's 1996 show into a career of named, signed, billion-pound beauty authorship.
White faces and coded colour on the runway are not fantasy — they borrow a working system built on the kabuki stage, where paint was dramaturgy.
A small, dark, heart-shaped mouth became the decade's signature — the moment lipstick turned from cosmetics-counter afterthought into a modern gesture.
From 1980, one French image-maker taught a Japanese cosmetics house to speak in his own visual language — and beauty direction became authorship.