
Make-up artist reveals how to avoid ‘common mistake' when applying concealer
Firstly, it's important to know what you want from a concealer, is it to brighten under-eyes or to minimise redness from an unexpected breakout? Do you want a full coverage, matte formula or something with a dewier, fluid texture? More importantly, do you want one that's budget-friendly or are you prepared to splurge on a high-end option?
To answer all your burning questions, we've consulted professional makeup artist Caroline Barnes, who has painted the faces of Kylie Minogue, Emma Raducanu, Carey Mulligan and Nicola Coughlan, to name a few. She's given the lowdown on everything you ever wanted to know about how to master the art of applying concealer.
Where should you apply concealer?
There are typically two ways to use concealer, one is to brighten under the eyes, in which case Barnes recommends opting for a shade lighter than your skin tone. This is great for making you instantly look more awake and conceal dark circles. You can also use it to cover up blemishes and redness, if so, her advice is to pick a concealer shade that matches your skin tone.
What's the best way to apply concealer?
'A common mistake people make is applying a thick concealer over very dry skin, so the skin looks parched and the concealer ages you,' says Barnes.
She also reveals the finished look of your concealer can differ depending on what tools you use to apply it. 'If you apply concealer with a brush you'll get a lighter finish, a fluffy brush will give you a delicate finish, so if you want a fuller coverage, apply a thicker concealer with a fluffy brush and you get a happy medium,' she advises. Before application, make sure your moisturiser, SPF and any primers you may use are fully absorbed and your face is dry to avoid your concealer pilling.
If you have dry under eyes, she recommends tapping in a hyaluronic acid serum first and using a dewier foundation. She cites the Glossier stretch balm concealer (£22, Sephora.co.uk) as her favourite for this, a product which also earned a spot in our guide to the best concealers for brightening dark circles and covering blemishes.
If you want a brightening, glowy finish, her top tip is to mix your concealer with the Revolution Skin X Sali Hughes ringlight creamy illuminating eye balm (£10, Boots.com).
Another trick up her sleeve is to apply your concealer under your eyes with a fluffy brush, then spritz a setting spray onto the skin and tap whatever product is left over on the brush over the area to extend the longevity of your concealer and prevent it from creasing.
Should you apply concealer before or after foundation?
According to Barnes, it's best to apply your concealer after foundation, so you can adjust how much you apply depending on how much coverage it provides.
'If you're using a medium coverage foundation, you may not need it all, but if you're using a sheer tint and want an all-over glow, but feel you look tired, you might want a fuller coverage concealer,' she says.
What are the best concealers?
Nars Cosmetics radiant creamy concealer (£21.60, Boots.com) took the top spot in our beauty expert's guide to the best concealers. 'The formula has a brightening quality that makes a visible difference, without merely heavily masking imperfections. This was particularly notable for my dark circles, which usually require me to use a colour corrector before going in with a concealer,' noted the review.
Both Barnes and our writer raved about the Glossier stretch concealer (£22, Sephora.co.uk) for a dewier finish, too.
However, the expert MUA's favourite concealer for brightening and adding radiance to combat dark circles is the Beauty Pie superluminous tinted under-eye serum (£12 for members, Beautypie.com). 'It's like little lightbulbs under your eyes,' she says.

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BBC News
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- BBC News
Runner hit by falling tree on Thames Path in Barnes, London
A runner has been taken to hospital after being hit by a falling tree near the River Thames in south-west were called to the Thames Path by Barn Elms Boathouse, Barnes at about 07:20 BST where they treated the injured is understood she was also helped by one of the coaches at the rowing club. The path remains partially closed while the tree is removed.A London Ambulance Service spokesperson said: "We sent an ambulance and treated a woman before taking her to hospital."


The Guardian
16-02-2025
- The Guardian
The week in art: Goya to Impressionism; Linder: Danger Came Smiling
There are not many portraits you wait all your adult life to see, but so it is with A Man Suffering from Delusions of Military Rank, painted by Théodore Géricault some time after The Raft of the Medusa in 1819. This shattering image of a man with no name is in Britain for the first time, loaned by a small Swiss museum a dozen miles outside Zurich. To see it with your own eyes is to have a sense of who this man might really be, whether the title seems right, and why Géricault painted him in the first place: all of them unresolved mysteries. The man is gaunt and elderly and sunk in anxiety, or suspicion. He looks away from us towards some other world. He is dressed – or dressed up, perhaps by somebody else? – in white shirt, black gilet and cloth sash over one shoulder. Around his neck hangs what looks to modern eyes like a dog tag, numbered 121, and on his head is a tattered hat with red piping and tassel. Perhaps it is the hat of Napoleon's military police, hence the delusions of rank. Or perhaps the tag gives the number of his hospital ward. But all the historic interpretations of this painting – that this is a study of monomania, painted for a Parisian doctor specialising in madness – fall away when you stand before the actual portrait. Géricault has sat with this man in Paris, heard him breathe or even speak, watched his gaze slide away into the distance. Who knows where or for how long he has been confined. The portrait is so empathetic and dignified, but so loose in its excitable rapidity, that Géricault's own state of mind becomes part of the picture's content. It is anything but a diagnostic illustration. One of a fabled series of 10 'insane' portraits, scattered after Géricault's premature death at 32, it disappeared for years, eventually bought by the Swiss art collector Oskar Reinhart (1885-1965) in the 1920s. It has been hanging in his pristine white villa in Winterthur ever since. The private collection of this Hanseatic merchant became a public museum in the 1950s, and now a tranche of its greatest masterpieces has arrived in the once-private collection of his merchant contemporary Samuel Courtauld in London. Goya to Impressionism is a jewel of an exhibition. Everything startles – not least because until quite recently this collection, like the Barnes in Philadelphia or the Frick in New York, was not allowed to travel, at its owner's request. Now that this statute has expired, it is possible to see Goya's dark and staggering still life of three chunks of bleeding flesh heaped together c.1812 (like the severed limbs painted by Géricault not many years later). In fact you are looking at salmon steaks, larger than life, huddled together round a fallen armoury of glittering silver scales. Crimson paint seeps from them, and into the canvas like blood. Goya is painting this dead flesh during the horrors of the Peninsular war. So many of these paintings are much larger than reproduction could ever imply. Cézanne's formidable early portrait of his uncle, eyes hidden beneath heavy brows, is monumental: the paint standing proud of the canvas in slabs. Renoir's immense calla lily, surrounded by tubs of hothouse plants, outstrips nature's grandeur in its colossal upright flash. The Géricault is much bigger than expected: a prominence that carries its own significance. Courbet's enormous rising wave, a green pyramid at the centre of a turbulent sea, powered forwards by the menacing rows of waves behind it, was painted with a palette knife off the coast of Normandy in 1870. The froth is flecked with particles, like fragments of rock. It comes at you with such force – a momentary closeup on an overwhelming scale – that it is uplifting to learn that Cézanne felt the same on seeing one of these wave paintings. 'It hits you right in the stomach. You have to step back.' Reinhart was passionate about French painting, and the origins of impressionism in the work of Daumier, Corot and Courbet, for instance, all strongly represented here. But the sense is that he prized each painting for its own sake. He waited years to buy certain pictures (lists exist), even decades for Manet's Au café, painted in 1878. One half of a bar scene that Manet slashed in two – both sides will soon be reunited at the National Gallery – this image of three Parisians seated at a bar listening, looking, dreaming, is so strange and distinct. Precise and yet otherworldly, it irresistibly recalls the artist's A Bar at the Folies-Bergère, hanging nearby in the Courtauld Gallery. The central figure's moustache drifts away like smoke on the air. Reinhart chose brilliant and singular paintings. Not just any Renoir of rosy girls in sun-dappled Montmartre but a sharp-eyed portrait of Victor Chocquet, humble customs official and early patron of the artist. Not just any whiplash Toulouse-Lautrec but an enigmatic portrait of an elusive entertainer at the Moulin Rouge – a female clown and contortionist called Cha-U-Kao – passing through the syrupy light of the bar in arsenic green knickerbockers, pausing momentarily to dart an undeceived glance at someone or something offstage. Cézanne's watercolour of Mont Sainte-Victoire, possibly painted in the last year of his life, is pure exhilaration. By now the hot sky and parched white rock of this eternal landscape near Aix-en-Provence are fading out, compared to the thrill of the foreground. Roof, shrubs and trees, all painted in translucent overlapping colours, are as complex as the glowing oil painting of fruit that hangs on the opposite wall, and as radiant as any stained glass. Every painting speaks to those just outside this show, by the same artists, in the Courtauld; and every work alters and deepens the understanding of these painters. Although there are only 25 masterpieces, they amount to a condensed museum within a museum. If there is the slightest chance of seeing them in London before the end of May, try to visit, before they require a pilgrimage to Switzerland once more. Linder Sterling's retrospective at the Hayward Gallery, also opening last week, is overdue but thorough. Subtitled Danger Came Smiling, it shows the British collagist extraordinaire (born 1954) at full stretch. Here are all the radical classics: the ambiguous photographs of herself in perfect eyeliner, but with smudged lipstick and holes in her top, or with her whole face squished sideways in clingfilm. The nude with an iron for a head and smiling mouths for nipples, used on the cover of a 1977 Buzzcocks single. What women are supposed to be goes with what they look like. Black-and-white shots of consumer durables are superimposed on the heads or torsos of soft-porn nudes. Women's faces are overlaid with oversized lipsticked mouths. A whole wall of them shows the endless inflections, sarcastic to terrified, of all those mismatched smiles. Linder's fusion of exploitation with politics runs to late-flowering surrealism – elegiac adaptations of old photographs of Russian ballet stars. There are unaltered photographs of drag queens in Scottish nightclubs and of Morrissey getting a manicure. There are also numerous collages of porn models, their exposed genitals covered up with big bright flowers. The problem of showing each series at exhaustive length, no matter how sharp, is most obvious when you see how original Linder can be. A work from 1976 shows a man clasping an apparently compliant woman by the waist. But she is holding a fork to her own eyes. Linder's collage is proverbial. Star ratings (out of five) Goya to Impressionism ★★★★★ Linder: Danger Came Smiling ★★★ Goya to Impressionism: Masterpieces from the Oskar Reinhart Collection is at the Courtauld Gallery, London, until 26 May Linder: Danger Came Smiling is at the Hayward Gallery, London, until 5 May


BBC News
12-02-2025
- BBC News
Helpline for survivors of sexual assault in Devon to close
A phone line and email service that supports people who have been sexually assaulted is to team behind the Devon Rape Crisis and Sexual Abuse Services said it will close its helpline and email support service on 28 February due to a lack of charity said 204 volunteers had staffed the service during the past 14 years, taking more than 7,000 calls and giving 12,000 hours of their said the service had largely been funded through a combination of national and local funding but the latter would be coming to an end on 31 March. 'Sitting in solidarity' Co-chair of trustees Linda Regan said: "Despite growing demand for our support, which has increased by 300% since we first opened our rape crisis centre, we are having to plan our future service with a third less funding for 2025/2026." The service offered advice to people who have experienced rape and sexual abuse, and provided advice and comfort to their families and Barnes, community and partnership manager, said: "It is a courageous act to answer the phone and not know what you will be presented with, but our volunteers confidently respond by using their advanced listening skills and their deep understanding of the power of simply sitting with a survivor in solidarity."Chief executive officer Dr Davina Cull said: "Whilst we are sad about having to make this decision, we want to recognise and celebrate the commitment that our volunteers and staff members have given during the last 14 years." Alternative helplines The charity said it recommends the National Rape and Sexual Abuse Helpline, which is available for people over the age of 16 by calling 0808 500 children and young people, the charity suggested Childline, which is available by calling 0800 1111.