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  • [upbeat classical music] [footsteps smacking]

  • [air whooshing]

  • - Hi, I'm Hungry the local bug lady.

  • Welcome to my charming Berlin life.

  • [bouncy music]

  • So this is the face that I'm going to be doing today.

  • I'm very excited about this.

  • It has this beautiful organic nose piece

  • that you can just take out whenever needed

  • and it just has a general very drowsy sleepy vibe,

  • but with a bit of color to it.

  • First I'm getting rid of my brows.

  • Boop.

  • Boop.

  • So I'm just doing my foundation routine.

  • I grew up in a very pretty part of Bavaria, I suppose,

  • which is just, it was very shielded, very Catholic.

  • Whenever I could I would just start dreaming of different

  • things, different worlds.

  • In early school the teachers would always just tell

  • my parents that I'm a dreamer, not being too present

  • when it came to actually learning about maths

  • or things like that.

  • When I was a kid, I didn't really experiment

  • that much on me.

  • It was mostly just drawing monsters I suppose

  • and drawing creatures.

  • It never occurred to me that I could just turn myself

  • into anything I drew or anything I thought about.

  • So right now, I'm just doing a light

  • contouring and highlighting.

  • My parents were very involved with the church in our town

  • so at one point I was also an altar boy for a while.

  • The whole ceremony of a mass was always

  • very performative, very strong.

  • The rich embroidery on the garments.

  • All of these things, I always just found very fascinating.

  • The Catholic church then definitely was one

  • of the reasons I left Bavaria

  • because the whole Catholicism and all the strict rules

  • that come with it and all the discrimination

  • that comes along with organized religion

  • are just things I didn't want in my life anymore.

  • Berlin was a good escape for me for that.

  • I'm gonna start going in with the grease paints

  • and the mapping out of the face.

  • Where this is from what I picked up

  • from in my studies, basically from my life drawing class

  • to just kind of see the proportions

  • of the thing you're working on.

  • As I'm working on my face, I just try to use

  • the paint brush to see where things line up,

  • if they're on the same level,

  • and just using that as a helper for symmetry.

  • I do know my face more than I should.

  • It doesn't help me knowing

  • that it's not perfectly symmetrical.

  • But it helps for my work.

  • Doesn't help for my self imagery

  • cause I know that it's not perfect

  • and it could be perfect.

  • Now I'm gonna go in with the black

  • to really create the eye illusion.

  • [upbeat peppy music]

  • I always wanna see how it moves, how it would react

  • if I pose, if I do different, if I squint.

  • If the line would still make sense

  • in an emotive way.

  • Basically this is my full eye illusion at this point.

  • I'm gonna add more details,

  • like I would drag down my pupil, diagonally,

  • and then just slant my eyes out more.

  • So it's just a very wide eye

  • and if I'm putting the lenses in,

  • this is supposed to just be the blank space

  • with the lashes and then this is all eye.

  • So now that the eyes are roughly done,

  • I'm gonna go in with grease paint to add color to it.

  • Hungary really appeared out of a very impulsive

  • idea to just try drag.

  • And I was always very into the idea

  • of being otherworldly and very bizarre looking.

  • Over time, it became more organic and more animalistic,

  • just delivering more of an insect vibe overall.

  • Hungary definitely evolved along with me.

  • So at the beginning, when I started,

  • I was also kind of fresh to Berlin

  • so it was very much the vibe I thought was right for Berlin.

  • It was just right for me.

  • As I became more aware of my actual interests

  • that weren't necessarily linked to the city or the scene,

  • I think that's when Hungary

  • actually took a very different route.

  • Pretty early on, gender wasn't really

  • a topic for me anymore.

  • Especially not in my drag.

  • I didn't really want to have those strong boundaries

  • on myself with a thing that I could be so free with.

  • So in my drag, I always tried to stay away

  • from everything being so binary

  • because I felt it was just so much stronger

  • if it was just this standalone character

  • or object or creature.

  • At one point, my work was just so far

  • from what I had originally known as drag.

  • I didn't find drag to be fitting anymore in that sense.

  • I just thought it, describing it as distorted drag

  • because it made more sense to me to drag your eye out

  • and make it bigger or make it weird.

  • It was just something that I created for myself.

  • I never realized that anyone else would even

  • relate to that term for what they do

  • and where they take their drag or their work.

  • Ooh, ah.

  • [upbeat classy music]

  • So the color is done and now I'm gonna go in

  • with some gold paint to map out

  • where the glitter's gonna go.

  • Symmetry clearly is beautiful to me

  • and it is just a very immediate way

  • of expressing perfection.

  • To have the skill to get things symmetrical,

  • more or less symmetrical.

  • They see the symmetry, so they see this is symmetrical,

  • this has a very technical aspect to it

  • so they appreciate it just for that first

  • and then they try to question

  • would they consider it beautiful

  • in what they usually would see as beautiful,

  • like what would the standards of beauty apply

  • beyond what they know

  • and that I always found quite interesting.

  • In preparation for a fashion week gig,

  • I went to Cantlook Market and hunted down the one store

  • that still had Halloween lenses and I put them in

  • and I just kept staring at myself

  • because it was just such a face opening moment.

  • I felt like I could do so much more with it.

  • So I'm gonna add glitter, lashes, and that should be it.

  • [upbeat electronica music]

  • Back in school I briefly did some research

  • on camera surveillance and how you could prevent it

  • or how you could confuse the cameras

  • and started working with the idea of hiding the nose.

  • I noticed that the earliest when none of the face

  • filters would work on my face

  • when cameras didn't really see my face anymore.

  • It has gotten better, which is a bit scary.

  • Cameras do tend to track me now.

  • It's not like I can hide looking like this,

  • but it is actually claiming more attention

  • than just being undercover.

  • [upbeat classy music]

  • These are just lashes I cut up

  • just to frame my eye illusion

  • to be a bit more understandable as an eye.

  • I'm just gonna add the mouthpiece.

  • And now that it's all completed,

  • I'm going to work on my outfit

  • and I'm gonna get ready to take myself out for dinner.

  • This is it.

  • I'm dressed as a successful 80s business woman

  • with my statement shoulders, a bit of teased hair,

  • and my sensible court shoes.

  • And I'm gonna take myself out for a schnitzel.

  • [upbeat classy music]

  • One of the first words that I learned

  • the meaning of in Berlin was just irrelevance.

  • A lot of the reactions I get

  • are just not relevant to my life,

  • they're just not relevant to who I am,

  • to what I do, and to my story.

  • [patrons chattering]

  • I kind of manage to just separate it from making an impact

  • to people that I care about and then to not care

  • what the irrelevant people

  • necessarily say or how they react.

  • It's always the community you need around you

  • and I'm very lucky to have found mine here.

  • [laughing]

[upbeat classical music] [footsteps smacking]

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餓了麼的極致美妝程序內幕|Vogue (Inside Hungry’s Extreme Beauty Routine | Vogue)

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    林宜悉 發佈於 2021 年 01 月 14 日
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