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" Long before Lloyd Simmonds was appointed International Makeup Artist for Yves Saint Laurent in June 2010, the brand&amp;#039;s louche, luxe aesthetic had already made a major impact on his career. &amp;quot;YSL has always been kind of mythic to me,&amp;quot; he says. &amp;quot;It&amp;#039;s always been part of my vocabulary, even way back when.&amp;quot; The Canadian-born Simmonds forged his reputation as a creative dynamo working backstage for labels such as Valentino Couture and Dior in the &amp;#039;90s\u2014and spent several years working on the controversial Benetton campaigns of photographer Oliviero Toscani. Simmonds&amp;#039; first collection for YSL, out this month, was inspired as much by the radical chic of Saint Laurent&amp;#039;s vintage designs as it was by the vision of &amp;quot;a flower blooming in a midnight garden,&amp;quot; which he says came to him while he was walking the streets of Paris: &amp;quot;I loved the idea of a kind of cold, blue, almost venomous light.&amp;quot; The resulting shades of eye shadow, mascara, and cheek and lip color\u2014as seen on sultry It Girl model Arizona Muse in the campaign images\u2014are at once decadent and elegant, brash and timeless.  There&amp;#039;s a disco vibe to the fall collection\u2014was that era particularly inspiring to you? Definitely. I was thinking of the famous party that marked YSL&amp;#039;s launch of Opium in America in the &amp;#039;70s [it was held on a boat in New York Harbor and attended by the likes of Truman Capote, Grace Jones, and Cher], and I wanted there to be a touch of that heady, decadent feeling. It&amp;#039;s about extreme gorgeousness.  You&amp;#039;ve introduced some unexpected shades, including a violet cheek color. How should that be used? It&amp;#039;s best as a sort of highlighter, used on the top of the cheekbone. What it actually does is make your skin look pale, not warm you up like a regular blush. It gives a sort of otherworldly halo effect to every skin tone. I was thinking of a famous photograph of Bianca Jagger at the opera in Paris: She has a very white foundation on, and she looks very theatrical and glamorous.  What&amp;#039;s your smoky eye technique? People tend to think a smoky eye is difficult, but it&amp;#039;s very easy\u2014it just takes practice. First, you smudge a liner pencil all around your eye. Then you take a brush and apply a shadow, whatever color you want, and go over the whole shape. I then go back in with another color and accent the inner corner of the lid.  Sounds like a recipe for panda eye. It really isn&amp;#039;t. But to be safe, the easiest way to not look bad is to not do too much on the bottom. Do the top lid first, because that makes it easier to gauge the overall shape, and then you&amp;#039;ll know how heavy you&amp;#039;ll want to go under the eye.  Rich color has clearly made a comeback, but do you think that it will ever be as bold again as in the &amp;#039;70s and &amp;#039;80s? I&amp;#039;ve seen it happening. In England, in particular, I&amp;#039;ve seen some really lively makeup. The difference is that the textures have changed over the past few decades: They&amp;#039;re lighter and more flattering, so it can be done in a modern way\u2014you can really go for it with color and yet not look dated.  What&amp;#039;s a good way to tiptoe into it? It&amp;#039;s all about using color as an accessory, which means you do your normal makeup and then you add it in. So for example, you do a little black eyeliner and then add a touch of pale violet in the inner corner of the lid\u2014just to give a little flash of color. Or you could take a thick brush and do a superfine veil of the shade across the whole lid. I also like to trace inside the lower lash line with one of the lighter colors\u2014it&amp;#039;s a tiny thing, but it gives your face a lot of light.your face a lot of light. "^^<http://www.w3.org/2001/XMLSchema#string>
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