Spring Beauty Is All About Blush—For Cheeks and Eyes

The luxe pigments from the new Rose Hermès collection serve as the starting point for a fresh take on ‘80s war paint.

Makeup by Lynsey Alexander
Photographs by Alasdair McLellan
Styled by Alice Goddard
Hair by Anthony Turner

Kesewa Aboah in a vintage shimmery top, her hair up and blue shimmery eyeshadow
Kesewa Aboah wears a vintage top from Rellik, London; vintage earrings from Susan Caplan.

Jean Campbell wears a Martine Rose trenchcoat.

Edie Campbell wears a Celine by Hedi Slimane jacket; Charvet shirt; vintage hat from the Contemporary Wardrobe Collection, London; stylist’s own scarf and tie.


What do 1970s and ’80s icons Diana Ross, Annie Lennox, and Jerry Hall have in common, besides high-octane glamour and eye-catching fashion choices? Why, their killer contoured cheekbones and well--documented affairs with blush, of course. It’s no wonder this dynamic trio inspired London-based makeup artist Lynsey Alexander to create a series of cheeky looks starring Rose Hermès, a brand-new blush collection from Hermès Beauty.

Diva references notwithstanding, the resulting images are surprisingly down-to-earth. “I wanted the look to feel like it’s from a fan’s point of view—sort of a youthful DIY approach to makeup and color,” says Alexander, who knows a thing or two about idol worship. “Growing up in rural Scotland in the ’80s and ’90s, my brothers and I had Smash Hits covers of Madonna, Sade, and the Eurythmics plastered all over our walls.”

For a fresh take on ’80s war paint, Alexander didn’t limit the products to their intended uses. In some shots, blush was layered on cheeks and lids for a modern monochromatic effect, and in others, richly pigmented lipstick (also by Hermès, bien sûr) served as a stand-in for eye shadow and blush. Instead of using a brush, Alexander applied lipstick straight from the bullet for instant coverage and an impactful—and slightly imperfect—layer of intense color.

Not surprisingly, Hermès’s makeup and brushes are as meticulously crafted as the house’s silk and leather goods. The new powder blush is embossed to resemble the brand’s signature silk twill scarves, and it is infused with a custom fragrance by perfumer Christine Nagel. Hermès’s creative director of shoes and jewelry, Pierre Hardy, designed a featherlight, refillable compact to click shut just so, as well as a coordinating goat-hair blush brush with a hand-lacquered handle that’s pure boudoir candy. There’s even a hot pink limited-edition calfskin “blush purse” for the girl who has absolutely everything.

“They are beautiful objects,” Hardy says. “But there is a lot you don’t see: the sound, the texture, the weight, the feeling when you touch it, the speed with which you can open a top or a lid. All tiny sensations, but they are very important. Beauty is an experience. It doesn’t have to be too excessive, or too difficult, or too much. But it has to be something that pleases you from beginning to end.” Consider us pleased.

Jean Campbell wears an Hermès jacket; Martine Rose shirt; Lock & Co. Hatters cap.

Aboah wears an Hermès bodysuit; vintage earrings from Very Vintage.


Edie Campbell wears a Miu Miu jacket; stylist’s own earrings.

Jean Campbell wears an Isabel Marant jacket; Uniqlo tank; Village Leathers braces; stylist’s own earrings.


Aboah wears an Hermès jacket; stylist’s own earrings.

Edie Campbell wears an Hermès jacket; Charvet shirt; stylist’s own earrings and tie.

Makeup by Lynsey Alexander at Streeters; hair by Anthony Turner at Streeters; manicure by Lorraine Griffin. Models: Kesewa Aboah, Jean Campbell, and Edie Campbell at DNA Model Management. Casting by Michelle Lee Casting.

Produced by Ragi Dholakia at Ragi Dholakia Productions; production manager: Claire Huish; production coordinator: May Powell; photo assistants: Simon Mackinlay, Matt Healy; retouching: Output London; fashion assistant: Hannah Hetherington; hair assistant: Claire Grech; makeup assistants: Phoebe Brown, Zahra Hassani.