Francois Nars Quotes
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We are not afraid to be a bit different, to make shades that are bold.
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From the start, I used a different kind of girl in Nars campaign images. My choice to use models of colour such as Alek Wek, Naomi Campbell and Karen Park Goude was absolutely a deliberate one. I felt that makeup was universal and should apply to everybody.
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It was never in my mind to be famous.
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I fell in love with New York. I moved here 25 years ago in 1984 after I lived in Paris for six years. In the 1980s, it was the place to be. Here I was able to create NARS, which I would not have been able to create if I stayed in France.
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Sometimes people are very not sure of themselves, so you really have to give them that confidence. Even models - they need to warm up sometimes on photo shoots.
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I love strong looks, so to me, no makeup is strong. As long as it makes a statement, that's what I like. The girls look very real, and I'm probably the only makeup artist who will say that I love a woman without makeup.
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I think Edie Sedgwick comes back, too. Every five or six years, there is always something about Edie, because she was so modern and stylish and elegant and hippie-ish, all at the same time. So I think that people will always love her.
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As a make-up artist, you always want to be in a good light, whether you're walking down the street or in a restaurant. It is a very key element to me; you can't apply good make-up in a bad light.
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It's more fun to have a name rather than a number. I think this gives our products a personality. I get the names from literature, movies, opera, traveling, nature, poetry, sometimes even the street. I keep a small book that I write in. I wake up in the middle of the night and jot down a name for a lipstick or an eyeshadow.
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Being a studio make-up artist and working on magazines was the only thing I wanted to do.
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I launched NARS with 12 shades of lipsticks, and many, many launches later, I'm still most proud of our lipsticks.
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I loved working with Avedon.
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I wanted to be a make up artist. I did it, and the road that I took was quite good.
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My goal was always to make the girl look real and look beautiful. It didn't matter how much makeup. Sometimes it was none at all.
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I've always loved the way movie stars in the Forties looked when they were off set. Shot poolside or at their home, they always wore a matte red lipstick with practically no foundation - it was how they wore makeup in real life.
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I remember this time I worked with Linda Evangelista on a shoot for Richard Avedon. I just put grease on her face, and it was beautiful.
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I love the dramatic idea of having nothing on.
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Find your own way, have an open spirit, and believe in your own beauty.
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I'm always scared of trends. The runways are always so trend-oriented, but I always feel for the women. The real women that buy cosmetics want to see the trends, but they don't necessarily go for them. And I always encourage women to find what looks best on them.
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Having worked with so many of the geniuses, I'd learned so much. It's the best sort of photography school, to work with people like Penn or Avedon or Meisel.
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Kate Moss makes you dream. She has such a passion for art and the creative process.
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Women are very unpredictable.
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You can look glamorous even if you're a housewife, any job you have.
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The '80s and '90s were the greatest time to be a makeup artist.