Riley Keough, Actress

“I’m in New York a lot. And every time I’m in New York, I’m out every night—it’s a bit much. After a week, I’m ready to go home. Tonight, I’m going to the Unicef Snowflake Ball, which I’m sure will be beautiful. But honestly, my idea of a fun night out is something like being in the middle of America in a pickup truck drinking a Bud Light.

My makeup always depends on what I’m wearing. Tonight, it’s a sparkly dress, so I’m not going to go HAM with my makeup, y’know? I prefer to look natural usually, not do anything too wild. Hung [Vanngo] is doing my makeup tonight and he’s so good at that natural, sexy look without going overboard. He used La Mer to prep my face, which is not really an everyday thing for me. But I do love skincare—that’s what I spend my money on. I just started seeing Shani Darden after a friend recommended her to me. She has this retinol called Reform that I use at night before I go to bed, and it is so good.

Sometimes before I go out, I’ll do a mask—I swear I’ve tried every one. There’s so many, but I really like Tracie Martyn’s Complexion Savior. It doesn’t make your face red afterwards. There’s also the Glamglow Supermed Clearing Treatment everyone has that I’ll use when I need something harder-core—but not before an event. You’re not going to want to use something that might irritate your skin. Something moisturizing like Christine Chin’s Soothing Hydrating Masque is what you want.

A lot of nights, what I do is I get a little tipsy and give people facials! They’re like, ‘Riley, no! Stop!’ But it’s what I always want to do, especially if I get new stuff. I’ll go home, have some wine, and be like, I want to give you guys a facial. They’re like, ‘Oh my God, no.’ I need to get a steamer, though. I do have LED lights at home. Half the fun of those is using them on other people. I think I should have been an aesthetician, honestly.

My bare minimum for going out is lipstick and curled eyelashes. All the Chanel reds are really good—they really pull you in and their formula is amazing. I have this box full of them that I got at a party that I’ve never even touched because it’s so beautiful. The Chanel Rouge Double Intensité is also nice—it’s the color on one side and then a gloss on the other. Those really stay on all night. I’ll stick whichever I’m using in my purse along with a Jack Black Intense Therapy Lip Balm. Most lip moisturizers are kind of watery and come off pretty quickly. The Jack Black ones stay put though.

If I’m really going for it, I’ll pull out the La Prairie Foundation. It’s really expensive, but it’s so nice. After I curl my lashes, I’ll wear the thickening YSL Volume Effet Faux Cils or Diorshow Mascara—just on the top lashes. Sometimes I’ll wear sparkles on my lids. It depends on my inspiration, which is anything from Ingrid Bergman, Rihanna, or Stevie Nicks. For me, the effort isn’t really in the clothes—it’s in the beauty look.

Tracey Cunningham does my color, but I don’t really know how to describe what I have right now. Maybe accidental ombré? I had red hair a few years ago, but now she just puts a gloss on it and lightens it a bit. Other than that, I’m super natural with my hair. I go to Whole Foods and buy whatever’s in front of me. What I have feels like a giant mane, so it’s easy to get lazy about it. It’s sort of the bane of my existence.

My perfume is constantly changing. It’s not so much that I get bored, as I just really feel like certain scents are better for different occasions. I spend a lot of time in Hawaii, so when I’m there I like more natural, floral, hippie kinds of smells. Then when I go out, I like something more elegant, fancy…like Norell. To me, it smells like what a classic movie star would smell like, but it’s a little bit younger. I prefer the oil because you can put it everywhere. When I put perfume on, sometimes it like rubs off or fades, whereas oil just kind of sinks into your skin. You know you’re not missing a spot.

How I take my makeup off depends on where I am. I’ve been in situations where I’ll stay at a friend’s house or be traveling and run out of makeup remover. In that situation, I’ll just scrub my face with hot water until it’s all off. It’s not great, but you have to take it off, no matter how late you get home. Ideally, I use Bioderma and then use the Klorane Smoothing and Relaxing Patches under my eyes. The other thing I’ll do is use coconut oil to get my makeup off, because that really gets sparkles off, too.”

—as told to ITG

Riley Keough photographed by Tom Newton in New York on December 1, 2015.

More starlets at night: The Avengers’ Claudia Kim wears compression stockings to bed after going out, Twilight’s Nikki Reed’s beauty routine starts with a good playlist, and more of the Top Shelf After Dark this way.

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Everyone Has Something To Say About Their Eyebrows

Right now, ITG is all about the brow. In celebration of Glossier’s upcoming product launch, we’re hosting Brow Month—a time to explore where those arches have been, where they’re going, and how best to care for yours. So, read on for your daily dose of brow, or click this way for related stories.

Beautiful portraits look better in frames, which is why we need eyebrows. Trimmed or disheveled or evocative of Angry Birds, they set boundaries on our faces. They express more than we can in words. Cats are nice, but brows are the furriest friends humans have ever had.

Jack Black knows it. A divine truth-teller, Black once said: “You must never underestimate the power of the eyebrow.” Saoirse Ronan was blunter, telling an interviewer that brows make faces. And for Andy Warhol and Courtney Cox, brow maintenance was more pastime than chore. To celebrate Brow Month, here is an archive of just about every brow-related bon mot to be found on the internet. Like the bedazzled brows of Chanel Fall 2012 show, these are gems.

(Got more? Leave ’em below…we’ll be updating throughout.)

Quotes are just the beginning though. Plenty more brow talk this way.

New Glossier is here, exclusively for ITG readers—get yours first with code OHBOY.

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Chloë Sevigny’s Cool Year

Last fall, I passed Chloë Sevigny—40 years old this year!—walking east on 16th Street in the golden hour with a giant Chloé shopping bag slung over her shoulder. I forced eye contact; she did not return my smile, but locked eyes anyway. Her red lipstick was lacquered on, complimenting a white ensemble, if only to say, “No, darling, I’m not worried about getting this on my shirt,” or “You’d be lucky if I get it on yours, to remember me.”

Jay McInerney, a fabulously flamboyant and intrepid journalist, crowned Chloë the It Girl in a 1994 profile in the New Yorker, and then, with methodical schoolboy precision, went about proving it. And you know I give him a real A++ for effort: “Watching Chloë read a fashion magazine makes you think of Alexander Woollcott devouring a ten-pound lobster a l’Americaine or Casanova undressing a servant girl.” Now, “the coolest girl in the world” or not, one still cannot elide the fact that he’s really saying: I’m watching a 19-year-old from the suburbs read Vogue.

But for the past 20 years, Chloë’s more or less eschewed the fan-celebrity pact with her public that usually means employing a publicist with a direct line to Us Weekly. If you want to worship me, she seemed to say, sing The Bluest Eyes in Texas at Karaoke like in Boys Don’t Cry, refresh eBay for that pink Supreme skateboard with my high school yearbook photo, DVR Big Love.

Until this year, where seemingly out of the blue she released Chloë Sevigny, her Rizzoli picture fan book “for the kids.” It’s a beautiful gingham artifact but, to quote the writer Amie Barrodale, if you’re like me then be like me and immediately start clique stalking her photog-y friends who provided the candid snaps on Instagram. There’s bestie from the tri-state area, musician-artist Lizzi Bougatsos, who posted these cheeky outtakes that didn’t make it in the book; here’s our lady chilling with skater-chronicler William Strobeck, who just so happens is friends with the “mystery man”, i.e. civilian Ricky Saiz, Chloe’s been dating this year.

Then—because there’s nothing chicer than doubling down—she gifted us No Time For Love, a zine of the men in her life (with stickers over their faces and newspaper clippings from Page Six). What’s worse—or what proves her to be the ultimate celebrity, I think—is that her primary sources serve only to heighten her opaqueness, her coolness, her unattainable celebrity-ness.

The actress Natasha Lyonne, writing the afterword to Chloë, addresses the Chloë je ne sais quoi: “You can live in her house, drive her car, listen to her iPod, and wear her clothes—none of that makes you Chloë.” To which I almost screamed: Yes, yes, but tell us what’s on her iPod! Lyonne gives up a little, but not much: “No matter what her particular obsessions are—the film Picnic At Hanging Rock, the novel The Executioner’s Song, Morrissey, Fassbender, Depeche Mode, Judy Garland—it’s all in her lifeblood…I could go on and tell you how much she loves fennel. Or that we eat a lot of watercress together.” She doesn’t go on, though I wish she would.

In her “where-is-she-now” New Yorker profile this year, 20 years after the premier of Kids, she defined cool: “Cool has a certain mystery to it. It’s being removed. To me, the coolest thing is to keep something to yourself.” In her zine, she clipped her quote in a New York Post article: “’I don’t like Sean Penn talking about how much he likes [poet] Charles Bukowski on Charlie Rose. To me, I’d rather not hear that at all. I’d rather not know so much about actors. It makes it harder for me to enjoy the characters they play.” (The Post gets the kicker though: “Thanks, Chloe [sic] — now we know a little more about you, too.”)

I see Chloë as a celebrity quite tuned in to the whitewashing effects of the Hollywood machine. In the Spring/Summer Issue of Purple, she flips this worry onto her interviewer’s lap: “How does one maintain their weirdness over time?…How do you stay in touch with the people on the weirder side of life? Do you know what I mean? I often think about that when I see performers and people that I admire getting older. Women always start to do an Asian influence, like kimonos…” (In a classic Chloë I-change-my-mind-when-I-want move, she also told Leandra Medine this year that “as I get older and dress a little more ladylike, maybe I’ll buy into more Japanese designers, I think that might be the route for me…”)

In Chloë’s case, you maintain your weirdness by all of a sudden taking your foot off the peddle whenever you feel like it. You move from the East Village—her East Village—to Park Slope, with nothing more than a shrug. You get an Instagram account and sign up for Facebook after decrying the lack of privacy on social media. You give us, in 2015, a weird a wacky body of work as a model, actress, designer, It Woman on top of all this self-released media: via Opening Ceremony we American Girls can finally pull off the trench coat and beret in America; she got ugly ugly for American Horror Story; she teamed up with pal Natasha Lyonne for a horror film called, duh, #horror; she posed naked with a lobster as underwear a la Dalí; she smoked a cigarette with Kristen Stewart; she got a “screwball thriller” movie where she plays a character named Chloe crowdfunded on Kickstarter (girl, we support you)…

Which is all to say, the coolest thing Chloë could do at 40 is do what she never did before: give us everything we want, then shrug as if to say, “You’re the one that wanted proof you couldn’t be like me.” And so—my zine shredding its staples from heavy flipping; my Chloë book at a friend’s house because she wanted to “borrow” it—I think I’m just going to have to go back to watching her movies, wearing her clothes, refreshing her friends Instagram feeds, and praying that Gawker Stalker will come back!

—Kaitlin Phillips

Photo via Getty.

More on online admiration: what it means to be someone’s #Mom.

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Sally Hershberger, Hairstylist

“When I was 16, I was wild. I had wild brothers and we all hung out with rock stars. We were living in Hollywood at that point. But after awhile, my friend Rob Saduski, who is a stylist, said ‘You’ve got to go back to school or get a job. Go to that beauty school down the street. You can work for my friend who is a famous hairdresser.’ So I did. He was doing Olivia Newton-John at the time, and I ended up getting to go on tour with her because they couldn’t afford someone who was really huge. She was a mega-star, and I’m like ‘This is cute.’ I didn’t want to be a hairdresser. It wasn’t in the game plan then.

I met Herb Ritts at that point because he was shooting the tour. He goes, ‘We should do something together.’ And then we did, and it was a match made in heaven. I worked with him for a couple of decades doing so many iconic pictures. Afterward, I decided to get into fashion and that was 17 years ago. That’s when I hooked up with Lori Goldstein and Steven Meisel. I was working tons with Vogue, with Mario Testino—with everybody. I worked with Helmut Newton, with Richard Avedon—so many iconic things throughout my career.

I was always obsessed with my hair. Paul McGregor was a very famous haircutter in LA and he gave me my first haircut. I used to go to parties and if it’d been raining I’d go back and find the blowdryer in the bathroom and blow it out. I knew if my hair didn’t look good, I didn’t look good.

But that’s why hair is a complicated industry. Women can get confused. They are like, ‘How do I use this product?’ It’s a little bit fickle. I want to break that. I want to be the biggest in the industry and the one that cracks that. I’ve always given my ideas to everyone else. I met John Frieda and did his haircare line for 10 years. The Sheer Blonde, the Brilliant Brunette, all that stuff. I was the first one to come out with keratin at home. I was the first one to do the beach waves for Bumble and bumble. I developed that because I love the way my hair looks when I get out of the ocean. I don’t believe in coconut oil or anything like that. Just salt. Just the ocean.

For a long time, I was making mass products, but then I decided I needed to make my own line. For me, it’s finding out what I need and making it for everyone else, too. I first begged my company to make my new Superiority Complex Texturizing Paste because I needed it. It’s what finishes my haircut. It just breaks it up. Jimmy Fallon, Jon Bon Jovi, John Mayer all wanted it. Meg Ryan is obsessed with it. We would run out of it and so my company finally got it. Then I met with Sephora. They had always wanted to do something with me, but I couldn’t before.

So my line, 24K, is me. It’s expensive, it’s luxe, it’s everything. It’s the best of the best. It’s hairdresser-driven and we know hair. There isn’t a woman that gets out of my seat that doesn’t say ‘Wow, I look like 10 years younger.’ I’m not messing around. I’m very energized and charged up about it because it’s a big deal to be able to own your own company. I feel like a kid again, you know?

Right now, I’m using my 24K Get Gorgeous StylePro Shampoo and Conditioner, but I still test other shampoos. I love Hyper Hydration Super Keratin Shampoo and my Pump Up Shampoo for Volume Shampoo. I wash my hair probably twice a week, and if I’m at the beach I’ll make sure I get it wet. It’s a whole other look with the salt water on it. It’s twice as curly. I’ll use my Kiehl’s Deeply Restorative Smoothing Hair Oil sometimes and put it in my hair, which looks really good.

I’m big on mousse. I had mousse in my line so long ago and people didn’t get it. People in the ’80s got it. Now it’s big again, but I have never not done hair without mousse. If I don’t put it in, the hair is too soft and it doesn’t have guts. It needs that grip. You can still run your hands through my hair. It’s light but it holds. I like Physique Extra Control Restructuring Gel by Sebastian [ed note: discontinued].

I get a bad haircut probably every time I get my hair cut, and then I get five more. I would never not have layers. I was growing my hair out into a bob once and it was so geeky. It just doesn’t work for me. You wouldn’t think my hair would necessarily be hard to do, but it takes like five people including me to get it layered on the right angle. Then when it’s done, I like my hair as non-hairdo-y as possible. When I was younger and I would get my hair done, I would run home and wet it and do it back myself because I never like that feeling of looking like I just came back from the hairdressers. I use a round brush to blow dry my hair and a paddle brush. I use heat on my hair anytime I style it. I’ll blow dry it and wave it with an iron. I think if you use the right products to prevent damage then it’s fine.

I always had good skin, but I had freckles and I only cared about being tan. I loved when my nose would peel because I hung out with surfers. And I wanted to be blonde, because all the pretty girls had long blonde hair and I had brown hair. So I took Sun-In and sprayed it in my hair and would sit after school with a reflector. Then I got skin cancer on my nose. Now I’m very careful about my sun protection. I like La Roche Posay Anthelios SPF 50 Mineral Light Sunscreen Fluid and I use Blistex on my lips.

For my face, I’ve used Cetaphil since forever. I love a heavy cream along with that though. I use one from Chanel Ultra Correction Lifting Firming Day Cream and Line Repair Night Cream. I’m really into Skin Medica right now. The TNS Essential Serum, that’s the main thing. Like everyone else, I’m obsessed with Rodin Olio Lusso Luxury Face Oil.

My favorite facial is from the Face Place. I own the one above my salon because I was obsessed with them in LA. They do like Mick Jagger, Johnny Depp, Michelle Pfeiffer, even Oprah. They do everyone, but they’re like a mom-and-pop shop. I’ll go there at least once a month and I get a mani-pedi when I’m lying there.

I don’t wear makeup unless I have to take a picture. I use Clinique Almost Lipstick in Black Honey. My smoky eye is fun because I like to reminisce about being a rocker and it’s just a little sexy to me. I like it even on men. I put the Maybelline Master Smoky Shadow-Pencil in Scorching Brown and just smush it with my finger. I like dark eyebrows. I use the Almay Intense i-Color Eyeliner in Brown Topaz. That’s it. I’m not so picky. And I take it off the minute I’m done. I just think skin is sexier without makeup.

As a hairstylist, I feel like I’m good at creating everyday hair.You can do the fashion thing and that’s fun, but I’m more about making you look the best you can look in your real life. To me, that’s being a little bit sexy, a little cool. My whole philosophy is very lightweight. You don’t see the product in my styles. But sometimes I have to sell people on haircuts. I can pretty much convince people to do most things because I’m really good with people. I know how to make them feel comfortable. Some of my greatest haircuts have been accidents.

When I was in my 20s, I got a call from Julia Roberts—‘Hey Sally, it’s Julie. Can you come over and cut my hair off? I’m sick of it.’ She was sick of being known for all that hair. So I cut it all off. After that, the press just kept calling me. Courtney Love, too—I gave her like, a fucked up bob. I gave her one of her iconic looks. I changed Hillary Clinton’s whole hairstyle for the cover of Vogue. That’s why Annie [Leibovitz] and Anna [Wintour] had me come on. I changed Tom Cruise a million times. When I met him for Top Gun, he had long hair and I cut it off. For Mission Impossible I shaved it off. No one wore their hair shaved then. That made it OK for men to shave their heads. Now, I love Jennifer Lawrence. I’m not obsessed with her hair, but I would be if I did it. I want to get my hands on her hair!”

—as told to ITG

Sally Hershberger photographed by Tom Newton on June 30, 2015.

Amoy Pitters became New York’s extensions queen by doing John Galliano’s hair. Then read more come-up stories from Oribe, who started as a server switching in-and-out of magician’s costumes, and Jennifer Starr, Bruce Weber’s casting director who found herself traveling the world with a suitcase full of film at 22.

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The Beauty Of Jon Stewart

Don’t correct me if I’m wrong, but I don’t know if we’ve ever seen a single bandage dress on The Daily Show, and the show ran through the entirety of the 2000s. What other late-night show can say it never saw Herve Leger as a repeat guest in effigy? What is it about The Daily Show that prompts its celebrity guests to dress down when they’d otherwise sex it up a little?

At its heart, it’s a show about how the news does its business, but The Daily Show has played the celebrity-casting-couch-after-hours game, too, back when it was just finding its political footing in the early years of the Bush administration. As the show gained cred, rep, glitz, and other monosyllabic industry terms meaning “ratings,” it also got to have on with more frequency the people it wanted—political movers and media shakers—and not (as in the case of 2002) the entire available cast of an Austin Powers movie spread throughout the week’s programming. But back in those early, fumbling, scriptless interviews, there was a candor, a freshness, and a corresponding beauty aesthetic that guests—especially women—seemed to cannily and handily channel. They dressed with the kind of abandon you feel when you’re dancing like no one’s watching—maybe because no one was actually watching.

Consider Cameron Diaz promoting Gangs of New York. Her full face of makeup suggests she’s just come from the studio, but her hasty half-ponybun says she drove herself here, windows down, music loud. She’s wearing a nebulously cowl-necked black sweater and green army pants with a little stomach flashing on the walk to the couch (yes, back when that horrid quasi-purple couch was buttressed against Jon’s desk in a feng shui approximation of a tightly arranged dorm room). Sartorially, conversationally, stylistically, and grammatically, it’s clear that Jay Leno’s showroom this is not.

Consider even Kate Bosworth for Beyond the Sea. It’s a tense, terse interview and doesn’t flow as well the next day’s guest (that’s Kevin Spacey, also promoting Beyond the Sea—The Daily Show still in the thralls of ensemble guest casting), but she’s lovely, doll-faced, windswept, and wearing the boots of an equestrian-champion dominatrix and the pearl strands of her grandmother. Her hair is a flaxen mullet of fly-aways and wisps, and it doesn’t seem to matter. She looks great.

And then there’s Natalie Portman promoting V for Vendetta in 2003, where she went full-on Johnny Depp in a gorgeous short-swept back cut, flushed cheeks, velour blazer, decent-sized pendant, and a graphic t-shirt whose message would no doubt be vaguely political if only we could actually read it. It’s an effusively happy, androgynous moment (well, as andro as you can get when your features are as delicate as Portman’s), and it’s a significant departure from her style on other late-night talk shows. Promoting the same movie on The Late Show with David Letterman, she wears a tomato-red spaghetti-strap dress. The same goes for Cameron Diaz, who in the same year of her casual, girl-next-door Daily Show appearance, donned this little number for Leno’s show. Clearly, it’s not just individual style or trends of the time that prompt the more casual, come-as-you-are approach to The Daily Show—it’s something else.

It’s possible that the stars want to play to a more irreverent, younger audience. It’s possible that the comparatively smaller viewing audience at home makes it seem less worth going through a fresh round of hair and makeup. No matter what else plays into it, credit has to be given to Jon Stewart himself. His interview style is playful but never ribald, never getting into the ogling territory of the bigger hosts. He speaks the same way to Angelina Jolie as he does to Sarah Vowell—never breaking the dramatic irony the audience teeters on. We know that one of these women is a staggeringly beautiful actress/activist and one is a brainy, witty author, but Jon never plays either of these epithets for a laugh, preferring to make jokes out of the material that arises from conversation and not from the guests themselves. Maybe because it’s a comedy show and everyone’s fair game, but no one’s treated as the more “serious” person. And when your beauty isn’t the thing on display, there’s no reason to get all dressed up. The message is: Whatever you’ve got will work. It’s a show that’s all about dismantling façade and pulling back political window-dressing. From that lead, the celebrity style followed with guests dressing down, speaking plainly, and looking relatable in a way we hadn’t seen elsewhere on television.

Which is hardly to mention the beauty of Jon himself. There’s the largely invariable fluffy haircut—like a nesting doll, a mini bowl cut at his forehead that gave way to growing waves of bowl cuts, each one cradling in a larger one behind it. It’s a thing of wondrous consistency. For all the times he’s had Jon Hamm on the show, Jon Stewart hasn’t seemed to reconsider his own coif—and it is a coif. (Most men have hair. Most women have ‘tresses.’ Almost no one has a mane. Trump has cotton candy. Jon has a coif.) It’s a thing of beauty, longer and grayer now than ever. His suiting’s gone through a gauntlet of its own—first the boxy Canali days, then the svelte Ferragamos before finally settling cozily into Giorgio Armani. And does anyone else remember that dreamy, narrow green tie circa 2008? I get a tingle down my spine thinking about those green-tied days. God, I’m going to miss him.

And yes, The Daily Show will go on, and I’m sure it will still continue to be conversationally both diplomatic and challenging. That’s thanks to Stewart—he’s made The Daily Show a refuge for the beautiful and famous who are tired of talking about how beautiful and famous they are. A place to wear something that won’t be analyzed the next day by E! or reproduced as a triptych on Instagram. A place to plug your charity or movie without sounding like a puppet or an ass. In a show about the absurdity of what makes news newsworthy, Jon’s cut his famous guests the slack to dress and act unfamous for a few minutes—and that’s great TV.

—Trace Barnhill

Photos courtesy of Comedy Central.

Go behind the scenes with the makeup artists of Amazon Prime’s Transparent.

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