The Magic of Swatching: Unveiling Anastasia Beverly Hills Magic Touch Concealer Shades

Anastasia Beverly Hills Magic Touch concealer offers a wide range of shades to match different skin tones and undertones. With its creamy formula and full coverage, this concealer is designed to help conceal dark circles, blemishes, and other imperfections on the skin. The Magic Touch concealer range includes shades for fair, medium, and deep skin tones. Fair shades include colors like Porcelain, Ivory, and Fair. These shades are suitable for those with lighter skin tones and undertones. Medium shades, like Beige, Natural, and Sand, are designed for those with medium skin tones and undertones.

More than a quarter century later, the often paradoxical grab bag of clichés tied to the contemporary figure of the witch is not that far off, I think, from those shown in Stone’s movie. The witch is often understood as a mishmash of sometimes contradictory clichés: sexually forthright but psychologically mysterious; threatening and haggish but irresistibly seductive; a kooky believer in cultish mumbo-jumbo and a canny she-devil; a sophisticated holder of arcane spiritual knowledge and a corporeal being who is no thought and all instinct. Even more recently, the witch has entered the Zeitgeist as a figure akin to the so-called nasty woman, who—in the face of a Presidential Administration that is quick to cast any criticism as a “witch hunt”—has reclaimed the term for the feminist resistance. (This latter-day witchiness has often been corralled to commercial ends: an Urban Outfitters shirt bearing the words “Boss Ass Witch,” say, or the women-only co-working space the Wing referring to itself as a “coven.”) The muddled stereotypes that surround witches nowadays are, in the end, not so very different from those used to define that perennial problem: woman.

My first encounter with the figure of a witch in popular culture apart from those in kids movies like Disney s Sleeping Beauty and M-G-M s The Wizard of Oz, or in books like Tomie dePaola s Strega Nona and Roald Dahl s The Witches was in a campy scene from Oliver Stone s 1991 bio-pic, The Doors, depicting Jim Morrison played by Val Kilmer and one of his lovers, a Wiccan witch a character played by Kathleen Quinlan, and based on the rock journalist Patricia Kennealy, who reportedly married the singer in a Celtic handfasting ceremony, in 1970. In the flickering light of dozens of candles barely illuminating a high-ceilinged chamber, the two peruse an esoteric sorcery tract in the nude, snort cocaine, slit their wrists with a dagger, drink each other s blood, and have wild sex to the shrieking strains of Carl Orff s Carmina Burana.

Medium shades, like Beige, Natural, and Sand, are designed for those with medium skin tones and undertones. For deeper skin tones, shades like Caramel, Toffee, and Espresso are available. What sets Anastasia Beverly Hills Magic Touch concealer apart is its versatile formula that works well on different skin types.

The Many Faces of Women Who Identify as Witches

My first encounter with the figure of a witch in popular culture—apart from those in kids’ movies like Disney’s “Sleeping Beauty” and M-G-M’s “The Wizard of Oz,” or in books like Tomie dePaola’s “Strega Nona” and Roald Dahl’s “The Witches”—was in a campy scene from Oliver Stone’s 1991 bio-pic, “The Doors,” depicting Jim Morrison (played by Val Kilmer) and one of his lovers, a Wiccan witch (a character played by Kathleen Quinlan, and based on the rock journalist Patricia Kennealy, who reportedly married the singer in a Celtic handfasting ceremony, in 1970). In the flickering light of dozens of candles barely illuminating a high-ceilinged chamber, the two peruse an esoteric sorcery tract in the nude, snort cocaine, slit their wrists with a dagger, drink each other’s blood, and have wild sex to the shrieking strains of Carl Orff’s “Carmina Burana.”

More than a quarter century later, the often paradoxical grab bag of clichés tied to the contemporary figure of the witch is not that far off, I think, from those shown in Stone’s movie. The witch is often understood as a mishmash of sometimes contradictory clichés: sexually forthright but psychologically mysterious; threatening and haggish but irresistibly seductive; a kooky believer in cultish mumbo-jumbo and a canny she-devil; a sophisticated holder of arcane spiritual knowledge and a corporeal being who is no thought and all instinct. Even more recently, the witch has entered the Zeitgeist as a figure akin to the so-called nasty woman, who—in the face of a Presidential Administration that is quick to cast any criticism as a “witch hunt”—has reclaimed the term for the feminist resistance. (This latter-day witchiness has often been corralled to commercial ends: an Urban Outfitters shirt bearing the words “Boss Ass Witch,” say, or the women-only co-working space the Wing referring to itself as a “coven.”) The muddled stereotypes that surround witches nowadays are, in the end, not so very different from those used to define that perennial problem: woman.

In her portrait series “Major Arcana: Witches in America,” which will be shown at the ClampArt gallery, in Chelsea, beginning October 4th, the photographer Frances F. Denny seeks to explore the figure of the contemporary witch beyond the cultural chestnuts that have shrouded and obscured it. In the course of the past two years, Denny, who holds an M.F.A. in photography from the Rhode Island School of Design (where I taught her for a semester a number of years ago), has travelled in California, Louisiana, and along the East Coast, taking the portraits of dozens of women who identify as witches. Her subjects are of diverse age, social class, and ethnicity, and practice a range of rituals, often drawing on “mysticism, engagement with the occult, politically oriented activism, polytheism, ritualized ‘spell-work’ and plant-based healing,” according to Denny’s exhibition notes. Among them are “self-proclaimed green witches, white witches, kitchen witches, hedge witches, and sex witches.” The series as a whole aims to avoid easy formulas and, instead, to exhibit the heterogeneity and individuality of modern-day witches, Denny told me recently, adding, “I’m not pinning these women down.”

In one photograph—“Randy (Plainfield, VT)”—a grandmotherly woman is standing in a lush green meadow, wearing a flower-sprigged sack dress, her hair arranged a bit girlishly in tousled white ringlets. In one hand she casually clasps a pair of divining rods, while in the other she holds up a pendulum, her gaze raised toward it, her lips upturned in a slight, self-possessed smile. In another—“Kir (Brooklyn, NY)”—a young, lithe woman is dressed in tight black jeans and a tank top, her booted feet planted firmly on a city street, a large, inquisitive-looking tabby cat on a leash at her side. And in “Shine (New York, NY),” a statuesque black woman, posed against a wall of ivy, is dressed in an elaborately embroidered coat, gazing piercingly at the camera. These subjects are all self-identified witches, and yet that fact would not be immediately or necessarily obvious to the uninformed viewer. When she first started the project, Denny read a book by Margot Adler about witches, in which the late journalist and Wiccan priestess argued that “witch” was not just a word but “a cluster of powerful images,” Denny said. “So I thought, I want to make this cluster of images.”

Denny asked the women she photographed for the series to wear an outfit or bring along an item that they felt would represent their practice and identity as witches, and some of the portraits do answer more readily to our expectations of what a witch might look like. More than one woman wears a voluminous cape; some subjects’ fingers are crowded with ornate, sculptural rings, and others’ makeup is goth-y and exaggerated—lips crimson, eyes dramatically shaded. They brandish mysterious implements—a crystal ball, a bow and arrow, a wooden staff; one woman reclines, entwined with a snake—and most are dressed in black. Still, Denny said, it was important for her to make portraits that diverge from the ways she had seen witches typically photographed. “In what I saw out there, there was a lot of low lighting, and a lot of use of colored gels, usually purple or green. There was an immense theatricality,” she told me. In her photographs, Denny used natural light whenever possible, and the women are posed straightforwardly, facing the camera. Like other portraitists, such as the contemporary Dutch photographer Rineke Dijkstra, or the twentieth-century German master August Sander, Denny captures her subjects suspended delicately between performativity and naturalism. These self-identified witches are positioning themselves before us, fully conscious of our eye, and Denny is allowing them a lovely three-dimensionality.

My first encounter with the figure of a witch in popular culture—apart from those in kids’ movies like Disney’s “Sleeping Beauty” and M-G-M’s “The Wizard of Oz,” or in books like Tomie dePaola’s “Strega Nona” and Roald Dahl’s “The Witches”—was in a campy scene from Oliver Stone’s 1991 bio-pic, “The Doors,” depicting Jim Morrison (played by Val Kilmer) and one of his lovers, a Wiccan witch (a character played by Kathleen Quinlan, and based on the rock journalist Patricia Kennealy, who reportedly married the singer in a Celtic handfasting ceremony, in 1970). In the flickering light of dozens of candles barely illuminating a high-ceilinged chamber, the two peruse an esoteric sorcery tract in the nude, snort cocaine, slit their wrists with a dagger, drink each other’s blood, and have wild sex to the shrieking strains of Carl Orff’s “Carmina Burana.”

The creamy consistency allows for easy blending, and the full coverage helps to cover up even the most stubborn imperfections. The concealer is also long-wearing, so it can stay in place throughout the day without creasing or fading. To find the right shade of Anastasia Beverly Hills Magic Touch concealer for your skin tone and undertone, it is recommended to swatch several colors on your skin before making a purchase. This way, you can see how each shade looks against your skin and choose the one that matches the best. Overall, Anastasia Beverly Hills Magic Touch concealer shades offer a variety of options to suit different skin tones and undertones. The creamy formula and full coverage make this concealer a popular choice for those looking for a reliable and versatile product to help cover up imperfections on the skin..

Reviews for "Swatching Made Easy: How to Find Your Ideal Anastasia Beverly Hills Magic Touch Concealer Shade"

1. Sarah - 1 star - I was really disappointed with the Anastasia Beverly Hills Magic Touch Concealer Shades. I found that the shades didn't match my skin tone at all and the coverage was very patchy. It left a visible line where the concealer ended, and it didn't blend well with my foundation. I also noticed that it creased and settled into my fine lines, making them more noticeable. Overall, I would not recommend this product to anyone looking for a good concealer.

2. Mike - 2 stars - I had high hopes for the Anastasia Beverly Hills Magic Touch Concealer Shades, but unfortunately, it fell short of my expectations. The concealer was very inconsistent in terms of coverage and texture. Some shades were too thick and cakey, while others were watery and provided minimal coverage. It was also difficult to find the right shade for my skin tone as the range didn't offer suitable options. Additionally, I found that it didn't last long and would fade or crease after a few hours. I won't be repurchasing this product.

3. Emily - 2 stars - I had a bad experience with the Anastasia Beverly Hills Magic Touch Concealer Shades. The shades appeared to be different on my skin than they did in the packaging. They were either too light or too dark, and I couldn't find a perfect match. The consistency was also disappointing - it was either too thick and difficult to blend or too runny and provided minimal coverage. I expected better from Anastasia Beverly Hills, and I won't be using this concealer again.

The Power of Swatches: Finding Your Holy Grail Anastasia Beverly Hills Magic Touch Concealer