I'm still obsessed with Hong Kong-style makeup with big red lips, and I'm a little tired
In recent years, I am a little tired of the "Hong Kong breeze" that has blown up, to be honest.
Don't get me wrong, I still have a ten-minute love for the beauty of Xiangjiang in the golden age, and I never get tired of watching it. It's just that nowadays "Hong Kong style" is almost equivalent to flames, red lips, and big waves, which is too simple and boring.
▲Song Zuer's Hong Kong-style style (picture 1);
Chung Chu Hei's Hong Kong style (Picture 2)
In those years, the beauty of Hong Kong was not in the details, and it was inevitable that the "three-board axe" would end up following suit. Moreover, is the retro nostalgia filter really all about Hong Kong style?
Walking the streets of Hong Kong today, the vast majority of local women's makeup has nothing to do with the bright red. In a flash, most of the women with white faces and red lips, delicate from head to toe, are not Hong Kong women. On the contrary, the group with light makeup and bare lips and a business casual are the native "Hong Kong women".
Speaking of which, in Hong Kong screens after the millennium, almost everyone has light makeup, which is capable, refreshing and clean. Hong Kong women have the confidence to get rich first with their own hands, the self-confidence and the old god who will always be ahead of the times.
▲ "Benevolent Doctor Under the Stars" Zhong Jiaxin
Heavy makeup is an over-the-top move, but it lowers the style. The key word of contemporary Hong Kong style is white space.
The Hong Kong beauties in the eighties and nineties of the last century were indeed eye-catching.
▲ Li Zi in the 90s (picture 1);
Bright beauty Guan Zhilin (picture 2)
Born at the intersection of Eastern and Western cultures, the women's liberation movement in the United States is in full swing, and Hong Kong women in the Far East naturally do not "insist on losing". In Hong Kong at that time, from factory girls to strong women from all walks of life, almost every industry had women involved, and few sat at home waiting for their husbands to get the money home.
They fought hard for themselves early, saw the world early, and held a firm belief: to be strong, to be powerful, to be stylish.
As early as the 70s of the last century, the first fashion boutique JOYCE has introduced European luxury brands such as Giorgio Armani, Yves Saint Laurent, Prada and Rick Owens to Hong Kong. Therefore, YSL's smoking suit and Armani's power suit have long been the uniforms of the first generation of female executives in Hong Kong, and they are very stylish.
▲ 1982 "Outside" cover character,
Joyce boutique创办人Joyce Ma
Later, shoulder pads were carried forward, and suits, shawls, leather coats, and denim jackets were all wide-shouldered, breaking the boundaries between men and women, and becoming a neutral fashion in the 80s of the last century. The avant-garde and chic Anita Mui's favorite shoulder padded jacket shows the changes in the image of women at that time, women can be unbelievable, but powerful.
▲ Anita Mui
It was the era of the awakening of women's power, and the Xiangjiang girls on the screen not only had a bit of feminine charm, but also had a sense of masculinity. Maggie Cheung in "The Golden Years" has a neat and clean makeup, and highlights the feminine charm with red lips, and the slightly angled eyebrow makeup creates a hard and clean workplace feeling, which is an independent and tough new female image.
▲ "Golden Years" Maggie Cheung
Zhu Suosuo is not an ideal model for Hong Kong women, but she is another urban image of Hong Kong women: bright and beautiful. Girls in that era liked dresses, highlighting the body lines, complex collocation, and being generous and confident.
▲ "The Golden Years" Zhu Suosuo
Floral dress.
Ordinary working women also love to dress up like this when they leave work, go shopping, watch plays, go to ball, and go to sea. A clean makeup with just a bright red lip is bright enough to be eye-catching and charming enough. As for the hairstyle, no matter how long or short, a natural fluffy hair and a vigorous appearance are the most beautiful years of a city and a generation.
In the 90s of the last century, the new women of the era were not confined to gentleness, and their lips once loved to be as red as they were, and they were so beautiful that they "showed the carriages and horses" (so described in Cantonese as "straight to the point").
is like the tide of "Fire Rose", I don't know if it is because of Wen Bixia's play, whether it is a leather coat, a denim shirt, or a red off-the-shoulder dress, she is even very moving when she wears a sweater, and a touch of red lips is the most annoying. Anyway, a woman like Haichao, no man in the play can afford her.
▲ "Fire Rose" sea tide
He Liyu in "Happy Family" is a little more international, and she is simply a hipster who loves cosplay in that era. Wearing a pointed bra by Jean Paul Gaultier, all back forehead and pointed eyebrows, flaming red lips and a mole on the side of the mouth, it can be seen that the wild Madonna has influenced a generation of Hong Kong women. imitating the Qi bangs and bob of "Pretty Woman in the Wind and Moon", coupled with thick eyeliner and bright red lipstick, Maggie Cheung is not an Oriental urban beauty.
▲ "Happy Events in the Family" Maggie Cheung
The trend in Europe, the United States, Japan, South Korea and other places has not swept Hong Kong, but Hong Kong women have always been better at the cultural level of "staying true to themselves".
After all, the first generation of ladies who mixed in Central have long established the cultural value of Hong Kong women, and their daily routine after lunch was to visit the Landmark Plaza, Lane Crawford's shop window, and go to Mandarin Oriental's JOYCE to see the new Issey Miyake and Yohji Yamamo. Hong Kong women, after years of taste training, how can they be willing to follow others? Seeing is their confidence, and they have their own way of dressing up.
Yohji Yamamoto SS 2017
Over the years, the urban image of Hong Kong women has basically not changed, and the 91-point hairstyle and red lip craze have passed, and the sense of independence and certainty of women in the workplace is still the core value.
Jiang Nansun's capable personality and neat appearance have been continued in a series of Hong Kong drama working women. It's just that with the passage of time, the edges and corners are decreasing, and being tough and domineering is seen as going crazy, and being capable, reasonable, and not admitting defeat but losing can be called more than flexible.
▲ "Golden Years" Jiang Nansun
Chen Huishan, who has high cheekbones and thin eyes, is not as glamorous as other TVB Hua Dan, with a cold and Kochi face, and she reverses the Hong Kong workplace female elite of that era.
Forensic doctor Nie Baoyan, who "only believes that fate is in his own hands", did not have a little flattering color on his face. Lawyer Jiang Xinyue is a generation of free and easy women, and lawyer Huo Xixian is an affectionate rich girl. Bai Fumei Helen and Botou Annie are the white moonlight and cinnabar moles of my Hong Kong female illustrated book at the end of the century.
▲ "Forensic Record" Nie Baoyan (Figure 1);
"Wonderful Hands and Benevolence", Jiang Xinyue (picture 2);
"Genesis" Huo Xixian (picture 3)
Xuan Xuan, who was born in middle school, graduated from Imperial College London, and played a young and promising Hong Kong girl who does not feel inferior like a small cake. From Cheng Ruohui in "No. 1 Imperial Court" to Cheng Tianlan in "The Golden Years", he has a good family background, a bright future, self-confidence and strength, and his love path is full of twists and turns, but he also retains innocence and wisdom.
▲ "No. 1 Imperial Court" Cheng Ruohui (picture 1);
"Golden Years" Cheng Tianlan (picture 2)
It can be seen that the Hong Kong drama women in the millennium have gradually faded their makeup and become more and more plain, and their lips mostly use transparent lip gloss, or a light bean paste tone lipstick. From Madam (policewoman) to doctor, from rich girl to strong woman in the workplace, this is the case.
Liang Xiaorou of "Forensic Pioneer" lightened her lip makeup, highlighting Meng Jiahui's pair of heroic and thick eyebrows, plus a chic trench coat and stand-up collar jacket, laying the foundation for the casual chic of MDAM in the new century. Later, Charmaine Sheh played the policewoman Ma Guoying in "Forensic Pioneer 2", and she also preferred stand-up collar jackets, and her lips were nude lip gels.
▲ "Forensic Pioneer" Meng Jiahui (picture 1);
Forensic Pioneer 2 Charmaine Sheh (Picture 2)
In the third season of the "Wonderful Hands and Benevolence" series, the short hair Li Zi is almost nude-colored lip makeup, and the blush is also very natural, which is no longer the "fine grain" appearance that Chen Haonan was attached to in the 90s of the last century, and the thick eyebrows and big eyes are very moving on her plain face.
▲ "Wonderful Hands and Benevolence 3" Li Zi
Wu Meiheng, who has few scenes, is my favorite, Wu Meiren was not outstanding in appearance during the years of filming dramas on the big stage, but in terms of noble temperament, few people may be able to match it.
Wu Meiheng's delicate and small "old money face", the light makeup just matches her oriental facial features, the charm is in the blank space, and there is a kind of Shi Shiran with a smile.
▲《Myote Jinshin 3》吴美珩
This kind of makeup is a model of contemporary Hong Kong style, with clean makeup, highlighting the eyes, skin tone and lip color should be natural.
Hong Kong women have been fighting for many years and have come to the stage of precipitation. is still beautiful and elite, but they are more elegant and calm than before, and they know that less is more expensive and refreshing can show their true materials.
▲Wu Meiheng, Zheng Yuling, Gu Jiyun, Xuan Xuan
are friends in the same circle,
50-year-old Wu Meiheng is still beautiful and elegant
In the end, it is the place where you get rich first, and the aesthetic orientation is becoming more and more biased towards "old money". Today's Hong Kong women, the basic style goes all over the world, and in the workplace, they can wear a set of elegant casual chic with a business suit, and the makeup is delicate and light and natural.
Many people think that Hong Kong girls are not white enough, but they don't care about "white and thin", but want to be beautiful and healthy, beautiful and noble.
The girls in "Rushing to the Clouds 2", Myolie Wu's aircraft engineer has wheat-colored skin, Hu Dingxin, who is a flight attendant, has a honey complexion, and Chen Fala, a Zhusheng sister who wants to be a pilot, is not a white background, but they are all transparent makeup, which makes the complexion look more natural and healthy.
▲ "Rushing to the Clouds 2" Myolie Wu (picture 1);
Soaring into the Skies 2 by Hu Dingxin and Chen Fala (Picture 2)
In "Jewels", Kang's mother carefully cultivated three outstanding daughters, all of whom were celebrities, none of them wore heavy makeup, and Kang's mother naturally knew the taste and interest of the old money class. Li Zi is fair-skinned and beautiful, but Shao Meiqi and Cai Shaofen are typical Cantonese yellow skins.
▲ The eldest sister played by Shao Meiqi in "Jewels" (picture 1);
the second sister played by Li Zi in "Jewels" (picture 2);
"Jewels" Cai Shaofen plays the younger sister and
Zhong Jiaxin's rich third-generation girl (picture 3)
Recently, the news queens who have been ramming a lot don't rely on men on their own, and what they have in their pockets is also low-key bean paste and nude lipstick, which will never be exaggerated.
▲ The light and natural finish of "News Queen".
Red lips will not be the first choice for "elite faces", because red lips will weaken the professionalism of women's workplace image and will also destroy the elegance of elite women. In Hong Kong, only counter ladies generally use lipsticks with brighter shades. I'm sorry, in Hong Kong movies, even Yu Chunjiao, who works at Sephora, doesn't wear red lips.
▲ "Chunjiao and Zhiming"
In this place that has been rolled up for a long time, Hong Kong women know how to taste and know how to be loyal to themselves. The white space on their faces is their ego and style. They have the confidence that they don't need to make a big noise, and they can also let you know with their skills.
▲ "Magic Kitchen" Li Meiqi