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Beauty, Fashion, On the Carpet, Pop Culture, WERK!

Dominique’s Oscars 2017 Recap

February 27, 2017

by Dominique Michelle Davis

Jimmy Kimmel’s witty and clever one-liners infusing political commentary with Hollywood elite was right on time and made this Oscars much more fun and funny to watch than in recent years. Though many were understandably not happy with his handling of the cast and crew of “Moonlight ” almost leaving the evening without the award that was rightfully theirs, Kimmel did shine with comic moments like his tweeting President Trump live and referencing the “overrated” Meryl Streep tweet from the petty President. One of my favorite moments of laughter.

The other highlight of the evening was Moonlight receiving awards for Best Supporting Actor and Best Picture. The 2017 Oscar Awards brought a refreshing and much needed perspective in presenting inclusivity. I was in awe and admiration of Mr. Farhadi’s refusal to attend the awards because of the ridiculous and outrageous ban that President Trump has enacted against immigrants – documented and undocumented. It was inspiring to see Hollywood Celebs using this platform as a means to promote human rights and speak in opposition of laws that go against the very nature of the founding principals of the United States of America.

On the fashion front, here are my Best Dressed Looks for Oscar Night 2017:

Tony, Emmy, and now Oscar winner Viola Davis wearing Armani Privé.

 

Janelle Monae wearing Elie Saab Couture.

 

Last year’s Best Actress winner Brie Larson, wearing an Oscar de la Renta gown.

 

Nominee for Best Actress, Ruth Negga of the film “Loving,” in a glorious custom Valentino in the signature “valentino red.”

 

We always love Chrissy Teigen, and we also always love her in Zuhair Murad. A perfect match.

 

The “around the way girl” herself, Taraji P. Hensen, stealing the show as always in a sexy, sophisticated, Alberta Ferretti gown.

Beauty, Fashion

About Town: Chicago Creatives & Entrepreneurs

February 9, 2016

Here is the first “About Town,” where we will feature fashion and beauty businesses in specific cities and neighborhoods you might check out. This post, written by contributing writer Dominique M. Davis, covers up and coming designers, chefs, entrepreneurs and a variety of creatives in the Chicago Land Area. While we are excited to share information about each of these businesses and some of their products, we are not endorsing any specific company or product listed here. Rather, we are sharing the wealth of businesses from which to choose from, and especially featuring Chicago women entrepreneurs and creatives in this post.

8TY4 Vintage 

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Margarita (pictured above) is the owner of 8ty4 Vintage. A master thrifter and lover of all things vintage, she has hosted vintage trunk shows and pop-up shops in Chicago and Atlanta. Her most recent vintage pop-up, a collaboration with Cuzvins, a duo comprises of herself and her cousin Ayesha Jaco who is the owner of Shelly Jean’s  Vintage, took place in early February at the  the Bronzeville Visitor’s Center. Her mission is to help people to understand that vintage items are all about being classic, fun, and unique, not just clothes from previous decades.

Margarita also recently joined Femme Creatives, a group of like-minded individuals that aspire and inspire to create through various medias and mediums.  This collective collaboration is intended to uplift, nurture and facilitate progression amongst its members and affiliates through the love of vintage and networking.

Get Dosed!

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Dose Market has become a staple in a few markets throughout the United States. As a Chicago native I’m biased so I’ll add “most notably Chicago!” Dose Market is described as a “marketplace devoted to showcasing the finest designers, chefs, makers, bakers, entrepreneurs and artists. Since 2011, to the delight of shoppers in Chicagoland and beyond, Dose has worked tirelessly to discover and develop a community, thousands strong, dedicated to excellence and delight. Celebrating the food, fashion and art of those committed to these passionate pursuits.” It takes a lot of courage and support to pursue your dreams to actualize purpose, and their work on something that brings them such passion is admirable. Some of the vendors featured in the “HoliDOSE Days” at the SOHO House ( West Loop at 113 N. Green Street in Chicago, Il) included Susie Lee of Echo Vie Products. echo vie products are 100% natural and do not contain parabens, petrochemicals, or synthetic coloring.  Each product is hand made and poured in small batches in order to assure the highest quality and peak freshness.  Currently there are two items in the echo vie skincare line:  the All Natural Lip Balm and the Organic Body Oil. You can find more of their products at www.echovie.com or follow them on instagram @echoviebysusie.

Argaman & Defiance

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Entrepreneur Lydia Crespo of Argaman & Defiance (A&D) creates 100% silk scarves naturally dyed by hand in our studio located in Chicago, Illinois. We only use natural dye extracts responsibly collected from tree bark, roots, and leaves. The hand dyed process is an artfully crafted skill, making each piece uniquely beautiful. A skillfully talented young lady who has developed a craft of art making through textiles. You can find out more about her products at argamandefiance.com or follow her on instagram @argamandefiance.

Bon Macaron Chicago

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Another entrepreneur featured at “HoliDOSE” is Founder/Chef, Catherine Cooper. Cooper began Bon Macaron in 2013 out of a shared kitchen called Kitchen Chicago. In June 2104, Bon Macaron was the first macaron specialty boutique to open in Illinois and provides Chicago’s premium quality macaron in over 25 signature flavors. You can find out more about her products at www.bonmacaronchicago.com or instagram @bonmacaronchicago.

If you are an entrepreneur or creative in/around Chicago, Central Illinois, Indianapolis, or St. Louis and want to be featured please email editor.glamourtunist@gmail.com.

– dmd

Beauty, Fashion, WERK!

Sistas That Slay Together, Stay Together: A Quann Sisters Photo Essay

November 10, 2015

by Eric Darnell Pritchard (photo credit (above): Hannah Thomson via vogue.com)

From Venus and Serena Williams and Gigi and Bella Hadid, to Solange Knowles and big sister Beyonce, and Jessica and Ashley Simpson, we have learned time and time again that sisters who slay together, stay together. This a photo essay dedicated to another dynamic duo: The Quann Sisters.

At the recent 2015 CFDA Vogue Fashion Fund Awards, a number of fashion luminaries took to the red carpet serving opulence, fierceness, elegance, and of course, luxury. A standout among the crowd at the awards, and in fashion, style and music generally, are Cipriana Quann and TK Wonder/Takenyah “TK” Quann, known affectionately to many as “The Quann Sisters.” The pair, as a result of their red carpet looks, made it onto yet another best dressed list wearing gorgeous ravishing purple (TK) and green (Cirpriana) Ohne Titel dresses to the awards event. The sisters have long been among my personal favorites in the style world, and thus their fierceness on that night was no surprise to me (or anybody else, really). As I said of Grace Jones in a recent post, The Quann Sisters too epitomize the fierceness, beauty, brilliance, and courage that is a  “black girl arrogance” that deserves praise, as they are defining genius, sophistication, and style against the grain and on their own terms in a world that has not and does not always celebrate Black women and girls.

Cipriana is founder and editor-in-chief of the lifestyle website Urban Bush Babes. TK is a musician (check out her music video “Van Gogh”) and a contributing writer for her sister’s website. The sisters, Baltimore natives, reside in NYC and in recent years have been featured in a number of print and online publications including the venerable fashion institutions Vogue  and W Magazine, respectively. Both have done much to educate people about the importance and beauty of natural hair care via their writings and visual archive as they also model as well, and are represented by IMG.

Here the Quann sisters had the following to say about their view of fashion:

“Fashion to us tells your personality, it speaks to who you are inside. I mean, some people may say style is superficial, but I think there is so much more to fashion than just appearance. Women find confidence in the clothes that they wear, so we find there is something very empowering knowing what works for you. ” – TK Wonder

“My twin and I have always been into fashion. We always joke and say in the womb we were best friends.”
– Cipriana Quann

What follows is a photo essay of the slay-age known as The Quann Sisters, who are amassing a virtual archive of photographs that will sure to be favorites in the fashion and style histories written by the future:

photo credit: Adrian Morales - snappylifestyle.com

photo credit: Adrian Morales

 

Inez & Vinoodh for Vogue Magazine February 2015

Inez & Vinoodh for Vogue Magazine February 2015

 

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photo credit: Diego Villarreal

 

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photo credit: Hannan Saleh

 

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via coveuteur.com

 

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photo credit: Diego Villarreal

 

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photo credit: Diego Villarreal

 

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photo credit: Diego Villarreal

 

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via islandboiphotography-Instagram/Joey Rosado

 

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photo credit: Tyler Joe via Elle.com

 

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photo credit: Charlotte Wales via urbanbushbabes.com

 

 

And now that your edges are all snatched and collected into little dime bags, do know that your hair will only be redistributed back to you in said bags with receipts that you have read and shared this photo essay. Also, as I am sure this photo essay will leave you wanting to see more of the Quann Sisters putting in that WERK!, you can follow them on Instagram: @ciprianaquann and @tk_wonder.

 

Beauty, Fashion, History, Pop Culture, WERK!

Rewind, 2008: Plus-Size Model Toccara Jones and Vogue Italia’s ‘All-Black Issue’

November 5, 2015

by Eric Darnell Pritchard

“I wanted to say something about weight, and I’m never allowed to do that,” said legendary fashion photographer Steven Meisel, as quoted in a June 2008 story by New York Times by fashion critic Cathy Horyn. “I met Toccara and thought, she’s beautiful. What’s the deal with her? She’s great and she’s sexy.”

Meisel was speaking on photographing plus-size model Toccara Jones, for what is now remembers as an epic moment in recent fashion history. In August of 2008, Vogue Italia published a special issue of the magazine in which they only used Black models in its editorial pages. The magazine cover featured model Liya Kebede on a fold-out cover, with models Sessilee Lopez, Jourdan Dunn and iconic supermodel Naomi Campbell on three additional covers unfurling like an accordion from Kebede’s. In addition to Campbell, many other legendary Black models including Iman, Tyra Banks, and Veronica Webb were featured, alongside a number of emerging model talents of the time.

The issue, conceived by Vogue Italia’s editor-in-chief Franca Sozzani, featured over 100 pages of editorial content shot by Meisel. In press reports Sozzani stated that the inspiration for the issue was then Senator Barack Obama, with the internationally adored Michelle Obama with him, winning the Democratic Party nomination for President, but also, and Meisel conquered, the lack of diversity in fashion on the runway, in advertisements, editorial spreads and throughout the fashion industry.

While the focus of most press coverage on the issue was initially about the fact that the magazine would be using all Black models, and lots of speculation on what models would be featured in such an iconic issue, once information on what  much of the contents of the issue was previewed the clear stunner to shut down the entire issue was model Toccara Jones. Jones, a former contestant and fan-favorite on Tyra Banks’ popular reality competition show “America’s Next Top Model,” was photographed by Meisel in a sexy, luxurious, fantasy ride of an editorial in a fashion story in which the model is depicted wearing almost nothing but a variety of fur coats. The representational and historical significance of featuring Jones is that she was a plus-sized model, so while the media frenzy that the issue was featuring Black models was fully on, here comes Jones in the issue killin’ it for Black girls and curry girls everywhere. But don’t take my word for it, here is your trip down memory lane below, but first, a shout-out to Toccara Jones! YOU DID THAT!

 

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Beauty, Music, News, Pop Culture, WERK!

On No Make-Up Adele

November 4, 2015

by Eric Darnell Pritchard

Adele Adkins insists upon coming to collect the very few edges we have left. Last week she did an old school, Harry Potter “avradacadavra” curse on our ENTIRE life, first with an open letter apologizing for being away from us so long:

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Around the same time she appeared as the latest cover model for i-D Magazine which I posted about here, serving us the cat eye of life, and I was ALREADY ready for her to leave me alone, leave her album at my doorstep, and just go away.  She’s too damn amazing. I can’t take it anymore. But of course, whereas normal people know to go have a seat when they slay the entire Universe in just a matter of days, Adele is like NAH! let me revive them JUST so I can kill them again. And so within days of saying I am sorry I won that Oscar and disappeared on ya’ll, she shows up on our iTunes like “Hello”  ?

 

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So, yesterday when I heard she was on the cover of Rolling Stone I was like, nope not looking. She will not do this to me again. Why is she in my mind this much and it hasn’t even been a full two weeks since that damn open letter? Do I need to charge her rent for living up in my head and my heart in this way? Not looking. Not ON TODAY. Welp, I looked anyway and while I do not regret it, my soul does. Because no make-up Adele is just as (if not even more) gorgeous than make-up Adele. Here are the receipts:

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Now can we all go back to our business. Of course not. We have a magazine cover to obsess over the rest of the week? Thanks, Adele. Ugh. *Wall slides*

 

Beauty, Beauty, Fashion, Film, History, Music, Pop Culture, WERK!

A Moment of Grace: In Praise of Black Girl Arrogance

November 2, 2015

by Eric Darnell Pritchard

This Grace is sufficient. Maybe she inspired you to become more flexible so you, too, could bend and contort yourself into a scene of “Island Life.” Or, perhaps she hula-hooped you into a trance, moving the cylindrical toy around her waist as she, mic in hand, belted out one of her popular songs. It could very well be her legendary beauty – her fierceness piercing the still life of every photo she has taken, or her masterful, delicious storytelling in her recently released memoirs. In whatever incarnation you encountered Grace Jones, you, like me, are likely to have gotten your life, or multiple lives because Grace slays you and you are reborn. Grace is reincarnation.

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Grace Jones represents the very best of so many aesthetically sublime and delicious possibilities and realizations for global fashion and popular culture. In addition to her album covers, music videos, and fashion editorials, she is etched into our minds through so many other moments: her role of eccentric fashion model Strangé in the 1992 film “Boomerang”; any one of the many photos of her live performances in her decades long career, such as a 1987 performance where she collaborated with artist Keith Haring for her stage costume; and her memorable runway walks such as at the Summer 1988/89 Patrick Kelly show in Paris, where she walked the runway dressed in a black bathing suit and cape adorned with an applique of neon stars and planets, red tights, a bustle of individual scarves of various colors hanging from her waste, and a hat with a long white ponytail hanging out of the top. In each of these moments and so many more, the camera shutter opens and closes on her to fulfill the promise, play, and pulchritude of every single image she has created. Her visual and performance archive is always embodying and emboldening the radical potential of fashion, music, dance, performance art and photography for exploding the neat boundaries built around race, gender, sexuality, time, and space from one moment to the next. Grace is divine.

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The icon and iconography of Grace Jones emerges as a clear archive of Black girl arrogance in all its fashionable fierceness and intervention. Black girl arrogance refers to both a spirit and embodiment of intelligent, beautiful, desirable, fierce daring that Black girls and women represent – whether on the runway or in the streets, in the classroom or the boardroom, at the piano or behind the podium – that makes their presence known in a social, political, cultural context or milieu that would rather render them unknown. It is thus at times an organic way of being, and in other moments a chosen tactic, that is always and already for one’s self. Sometimes that arrogance is refusing the gaze and living one’s life, and still other times it demands of you, “see me.” The fact that anyone else gets to witness this divinity is, well, grace. And I return to Grace Jones here to give her the respect she so deserves, but also because it is through returning to Grace that I believe Black girl arrogance, in all of its complexities and genius, is re-membered for now and for what is to come.

For instance, Black girl arrogance has once again been made legible at the intersections of fashion and style with television, film, and music. We saw it just recently in Emmy-nominated actress and transgender activist Laverne Cox’s stunning photos in Allure Magazine, and in her many other moments including her picture on a 2014 cover of Time Magazine. We see it in Academy Award-winner Lupita Nyong’o’s boundary breaking and trendsetting beauty and glamour, which has completely raised the bar for red carpets all over the globe. We see it in Solange Knowles’ epic wedding photo, which flooded our Facebook newsfeeds, Twitter timelines, and Instagram pages with panoramic shots of gorgeous Black women adorned in radiant ivory gowns, and effecting the etherealness of any dream we wish would come true. And where Solange leaves us dreaming, big sister Beyoncé made “I woke up like this” the mantra of every bold and brilliant person ready to declare that who I am and how I am is already “Flawless.” The 2015 “Black Girls Rock” award show that aired on BET and Centric offered numerous examples of Black girl arrogance as intervention in many of the speeches including those by singer Erykah Badu, educator Nadia Lopez, FLOTUS Michelle Obama, Dr. Helene Gayle, and actress Jada Pinkett Smith. What about Rihanna’s recent performance of “Bitch Better Have My Money” at the #iHeartRadio Awards? The performance included many elements of power moments from the archive of Black women international pop star performances, from Lil’ Kim’s green wig and furs in the video for her 90s hit “Crush On You” to Diana Ross’s epic exiting of the superbowl halftime show in a helicopter that descended on the stage to whisk her away (also reminiscent of Grace Jones’ Strangé’s epic arrival in “Boomerang” via helicopter, and then a chariot driven by men). Here Rihanna’s daring is part of a continuum in her performances of Black girl arrogance, including her homage to Josephine Baker on the occasion of the legendary performer’s birthday at the red carpet of the 2014 CFDA Awards, where Rihanna was clad in a transparent bosom bearing silver beaded gown and bejeweled headdress. For Black women performers and Black girl arrogance, the archive and the ancestry matters. Grace matters.

It is imperative to note the historical antecedents for Grace Jones – the eccentric freedom of Eartha Kitt, the elegance and sophistication of Lena Horne and Ruby Dee, and the beauty folk ways of Maya Angelou and Cicely Tyson most come to mind. Another historical antecedent that demonstrates Black girl arrogance, and laid important roots for Grace Jones to later help define and then defy boundaries around Blackness and femininity, appears in the wonderful documentary Versailles ’73: An American Revolution. The documentary examines the legendary battle at Versailles fashion face-off between five American and five Parisian design houses, a tale examined in greater depth in the new book The Battle of Versailles: The Night American Fashion Stumbled into the Spotlight and Made History by Pulitzer Prize-winning Washington Post fashion critic Robin Givhan. Among the points made by several of the interviewees that appear in Versaille ‘73, including legendary fashion model and editor China Machado, fashion historian Barbara Summers, and fashion and beauty editor Mikki Taylor, was that the success of the American presentation at that show was the presence of Black models Norma Jean Darden, Pat Cleveland, Bethann Hardison, and so many others, whose walk of “affirmation” to quote Taylor, was what set the American show apart from the Parisian set.

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While Taylor’s observation about the impact of the Black models affirmative stance is in itself a rich one to engage, I look at that moment, at Grace, and the intersections of fashion and identity and submit that amongst the gems that Black models brought (and still bring) to the runway was something that is actually in excess of “affirmation”: Black girl arrogance. This Black girl arrogance, though embedded in the very movement and being-ness of the Black models at the ’73 show at Versailles is so missing from the runways of today’s fashion shows in the lack of racial ethnic diversity, as rightfully noted in the 2014 open letter of protest authored by Hardison, and models Iman and Naomi Campbell. A black girl arrogance that haunts us when we remember the days of fashion past, and are reminded of the disappeared characteristic of personality that was once an essential ingredient to the development of a signature walk and presence on the runways for any model, Black or otherwise.

I am convinced that whether or not uniqueness and personality were ever embraced, Grace Jones would still be who she was and is. What other way was there for her to be? Still, in the way that she pushes us beyond our comfort zones, and shows us what it means to create a path for one’s self through an ethos of having no fucks to give, the existence of Grace Jones and all she has meant is priceless. Here’s hoping the next era of fashion and popular culture will applaud and embrace these moments of productive defiance like the Black girl arrogance revival of which I write, on the runways, in ad campaigns, and at the head of design houses and fashion magazines. Clearly television has received the memo, as evident in shows headed by defiant, brilliant, Black women are at the top of the ratings and lording over the zeitgeist of popular culture, from Kerry Washington’s portrayal of Olivia Pope on “Scandal” and Gabrielle Union’s Mary Jane Paul on BET’s “Being Mary Jane,” to Viola Davis’s multilayered Professor Annalise Keating on ABC’s “How to Get Away With Murder,” and most recently, leading the pack is Taraji P. Henson’s critically acclaimed and popularly adored Cookie Lyon on Fox’s juggernaut “Empire.” It is the very thing that seems to revive the very lifeblood of this global industry and persists in fashioning a future. No matter what, Grace Jones, her predecessors and descendants will carry on being their fierce self. They woke up like this.

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Beauty, Fashion, Runway Review

“The Art of Fabric”: African Fashion Week, Chicago (Review)

October 30, 2015

by Dominique Michelle Davis / Photo Credit: @ChicagoFashionDiva

The 2nd African Fashion Week of Chicago hosted at Victor Hall proved to be another great success. For the second year running, founder and CEO, Christianah Ajanaku, has managed to pull talented designers together to create a runway show inspired by the art of fabric. Designers in the show included the brands 828 Collection, Cocushubi, St. Frimpong, Akese Stylelines, Abayadake, Anzhelika Crochet, Binta Sagale, Maryam Garba, Slice by Cake, Simply Cecily and Tiffney Deo Allure.

This was a unique experience in comparison to the standard runway show. What separates this fashion event from others is the way its producers incorporate the arts (visual, music and textiles) in a way that is inclusive to all artists, including the broad and diverse range of the models for the runway show.

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The theme of this year’s event, The Art of Fabric, inspired designers to use a variety of textiles, prints and colors with a range of motifs. The theme also invited designers to challenge the traditional structural design of garments. Vibrant earth tone hues of green, blue, orange and yellow were consistent among all the collections, and what what is currently on trend for the 2015-2016 in fashion generally. Of all the designers, Simply Cecily, Maryam Garba and St. Frimpong were among my favorite collection pieces.

The production of the event was a definite progression from last year’s event, which was held at Jackson Junge Gallery in Chicago. However, with a theme this broad, and with the ability to work with other art form incorporated into the show’s production, I would have liked to see the art of fabric imbedded in more than just the designer’s collections. For example, the “art of fabric” as a theme give the opportunity for the interior design of the location to be incorporated into the runway show, as well as the integrating of the theme with the wonderfully venturous hairstyles and accessories could have been amplified to create a cohesive beauty look for the shows that used hairstyle to showcase fabric. This would also exhibit the diversity of hair textures and hairstyles among the broad range of wonderful models for the show, as well as among the event coordinators for African Fashion Week – Chicago.

Despite this minor critique of those very few details, and even in the absence of what my thoughts on what would have been additional compliments to the show, I applaud Christianah Ajanaku for her leadership, creativity, inspiration and ability to be a trailblazer. Ajanaku has created a platform for artists to debut and present their creations in a great way. I look forward to African Fashion Week – Chicago 2016 and to following Christianah Ajanaku and the designers to see their creative visions flourish for what will undoubtedly be many years to come.

Beauty, Fashion, News, WERK!

Adele Returns, and on latest i-D Magazine

October 28, 2015

She’s baaaa-aaack! And on the cover of the latest issue of i-D Magazine. The photo is, of course gorgeous. My only wish – and this is not a critique of i-D because they generally do mostly feature only head shots of their cover subjects (see a previous post I did about their gorgeous Rihanna cover) – is that fashion magazines in general would stop only photographing ‪#Adele‬ in head shots and show her wonderful, voluptuous, full figure. I think this would set an important precedent for featuring plus size women on fashion magazines in general, and hopefully more often. Not doing so sends a bad message about body type, beauty and plus size women, and that’s not a message anyone should want to send. ‪

Beauty, Fashion, News, WERK!

Jessica Chastain covers November W Magazine!

October 28, 2015

Loving Jessica Chastain’s complete style transformation on the cover of the November W Magazine styled by Edward Enninful and photographed by Steven Klein. The ‪‎fashion editorial‬ inside the magazine is equally stunning and appropriately titled “Transformer,” as clearly evidenced in the beauty look Chastain wears on the cover and in the editorial. I literally had to look multiple times and then check the name on the cover to even recognize her. Fabulous!