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The last time I was obsessed with eyeliner, it was a universal form of expression for us sad girls who didn’t know who we were yet, or why we were so sad. My raccoon eyes, which I erratically traced with Urban Decay’s 24/7 Glide-On Pencil in high school, had the ability to immediately inform strangers that I was annoyed and that I didn’t like attention, even though I was simultaneously bringing attention to myself.
Fast-forward to the hell that was 2020, and even a non–beauty expert could have predicted that this punk-rock favorite would start to show up all over social media—and the spring runways. I’ve never seen a fashion show in my life, but I do scour the internet (see above), which is rich with references to makeup artist Peter Philips’s strong and graphic black eyeliner at Christian Dior, and Pat McGrath’s dramatic and sculptural wings at Chloe, not to mention her electroclash moment at Valentino. Because after getting through this last year, we’re all punk rockers? (I’m not confident enough about this last sentence to not put a question mark at the end of it, but I stand by it.)
“Ancient cultures used black kajal and kohl for protection and as a statement of power,” celebrity makeup artist Pati Dubroff says, explaining dark eyeliner’s unique ability to convey our collective emotional state. “Wearing it now makes us feel as though we have power over the last year.” It effectively translates our mood, she continues—“and it can create a character within a mood,” confirms Daniel Parker. He would know; as the lead hair and makeup designer for Netflix’s popular miniseries The Queen’s Gambit, Parker used a variety of black eyeliners—MAC’s cult-favorite Blacktrack Gel and Pencil in Smoulder, as well as liquid pens from brands such as Christian Dior, YSL Beauty, and Tom Ford—to subliminally affect Anya Taylor-Joy’s onscreen evolution so you never once find yourself thinking, Hey, isn’t it kind of weird that Beth Harmon puts on a winged eyeliner, every morning and night, to practice chess, alone? “When she was a very young girl, the liner was small and timid and delicate,” explains Parker. “As she moves on, it becomes longer and broader and definitely bolder, so you end up getting something very sophisticated.”
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