Margot Robbie’s Makeup Artist Reveals The Inspiration Behind Her Golden Globes Beauty Look – Glamour UK

Every stunning hair and makeup look on the red carpet look takes time, effort and skill to craft. We caught up with Margot Robbie’s long-time collaborator and makeup artist, Pati Dubroff and she reveals the inspirations behind Margot’s latest amazing beauty look from the Golden Globe Awards 2020

Talk us through the look for tonight – what was the inspiration?

The dress has incredible beadwork on the bodice and it reminded me of fireworks. It’s obvious that fireworks are colourful, but then I thought about the way the skies are lit up afterward. So I added a flash of subtle light across her lid and then one little dash of purple, which is kind of like the excitement of the firework at her lash line. Then I kept everything soft and neutral like the lip. The blush was a pretty bold pink, but I diffused it a lot, very delicately with a fan brush. I didn’t want the skin to compete with the sheen on the lid, so I kept the skin more satin rather than glowy – but the cheek brings out a little bit of vibrancy so she doesn’t look flat. I wanted Margot to have an overall feeling of lightness and luminosity.

“The purple line was designed to be subtle – I didn’t want it to be a big colourful eye because there’s a lot of colour going on in the dress, but I wanted the idea of it. It’s the kind of thing that, for women, is really wearable. Everything is kept neutral and you just focus on one thing, like the lash line.”

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What products did you use?

[Pati used CHANEL makeup to create the look.] After prepping the skin with CHANEL La Solution 10 de CHANEL on her face and the firming – Anti-Wrinkle Flash Eye Revitalizer around her eyes, I buffed in Ultra Le Teint Velvet in 30. The juxtaposition of the freshly hydrated skin with the velvet texture of the foundation gave her the most perfect and creamy base. I also really focused on blush, layering generous coats of Joues Contraste in Vibration onto the apples of her cheeks.

I wanted her eyes to have a little sparkle, like the leftover sparkle when fireworks are falling from the sky. First, I gave the eyes some depth with Stylo Ombre et Contour in Coutour Clair in the crease and under the lower lashline. I evened out the lid tone with Stylo Ombre et Contour in Pure Flesh, which has a soft, peachy flush. I then applied Ombre Première in Pourpre Brun along the lashline. Lastly, I curled her lashes using Le Recourbe Cils de CHANEL and finished by applying one coat of the Le Volume Révolution de CHANEL in Noir on her upper and lower lashes for a dramatic yet refined sculpt.

For the lips, I applied Rouge Coco Flash in Contraste. It’s just one shade deeper than her actual lip tone, which creates the most beautiful and natural depth.

Finally, I applied Stylo Yeux Waterproof in Blanc Graphique on her tear duct and blended it out to add brightness and soften the lines and give a dreamy glimmer to her eyes.

You and Margot have been a dream duo for several years now but how did you first meet and end up working together?

I was super lucky to get booked with her when she was trying out makeup artists. It’s a funny story – she wanted to try me because she really liked Kate Bosworth’s makeup, which I do, and she had screenshotted a lot of Kate’s red carpet makeup looks. She wanted to try the person who created them – I’m lucky that she took notice.

How do you and Margot go about choosing the makeup looks, is it a collaborative effort?

Absolutely, it’s always a collaborative thing, because she’s the one who’s got to wear it, she’s the one that’s got to feel good carrying it off. But, I come to her with ideas once I’ve seen the dress. I put together mood boards, or I’ll put a picture of the dress on the board and swatch colours so she can see them. I also found this incredible image of this light installation in a gallery in Japan and I sent that to her and that was the thing that I was thinking about. But it’s definitely a collaboration.

On the day of the event, hopefully when she gets her final fitting, I’ll try something on her so she can check “oh yeah, that’s going to work”. For instance, I wasn’t sure about the lip tone until I saw the dress on her body, because the lip could have gone sheer and a little bit brighter, I even had a colour that was sheer and a little bit grey to black out the pink of her lips. But, in the end we went for a shade that looked like her lip colour but a little bit more perfected and really natural. It’s one thing on paper and a mood board and a whole other thing in real life.

How far in advance do you plan the look?

The second I see the dress I start obsessing. Sometimes I’ll see it on the day of, which is not ideal, and sometimes it can be weeks ahead of time. The second I know what that dress is, I’m thinking about her and what will work and zooming in on it. I’ll go down in my studio swatching products and even trying things on myself. Usually I’m down there until 1am in the morning. I want her to feel like the best version of herself so it’s my responsibility to do whatever I can to help her achieve that and I take it very seriously.

Do you tend to make last minute decisions and changes?

I try not to try too many things last minute because that takes time and it would be messy. Ideally when she sits down for makeup it’s worked out and laid out and ready to go.

But with the eye liner, for instance, I was going back and forth about what colour to use at the lash line – in the bodice, you could kind of pull out any colour – but I kept veering toward purple in my head because I love purple with a green eye. Then, when I saw her manicure for tonight, it was a little bit fuchsia and it told me I was going in the right direction, it tied in beautifully.

You manage to keep the makeup classic and beautiful but with clever modern twists – what’s the secret?

It’s whether the girls can carry off a little ‘something something’. It’s not always appropriate, but when it is, it’s really about the wear – that they feel confident to carry it off. If she didn’t feel confident about the colour, no matter how subtle I make it, then I’m not going to do it. It’s also about the event – for instance, what I would do for the MET Gala, wouldn’t be what I would do for the Golden Globes. The globes are generally an event that can have an element of fun to them, but it’s an acting event, it’s not a fashion event, whereas the MET Gala, which is about fashion, would be a whole other vibe.

What are your favourite products to use on Margot?

I never use any mascara other than the Chanel Le Volume mascara – and not just on Margot, on everyone – because I need a macara that’s going to go on the lash but that’s not going to flake. I can’t be worrying about the mascara flaking when I send them out to an awards and that mascara is very reliable.

Then I love the Chanel Waterproof Brow Pencil, the light blonde is the perfect colour for Margot, it’s the perfect texture and it serves me well.

My other major go-to product is the Stylo Ombre Et Contour in 12 Contour Clair. That product I pretty much use on everyone when I do makeup, like everyone, because it’s the perfect taupey colour that can give the structure to the eye without looking heavy or makeupy. I can give a little bit of contour to the crease of the eye or under the eye, or wherever the eye needs a bit of pushback, but it’s not going to look heavy or muddy. Those are my biggies. After that it’s like, let’s play.