A Quote by Krystle D'Souza

When I don't feel like getting ready, just a pop of colour on the lips does the trick for me. I have this fond liking for RUBY WOO from Mac. It's a Matte red colour and makes all the difference.
The true colour of life is the colour of the body, the colour of the covered red, the implicit and not explicit red of the living heart and the pulses. It is the modest colour of the unpublished blood.
To me, it's really easy to feel glamorous and beautiful with red lips. It's great because you don't have to do anything else. I don't have to do anything to my face. I can have cleanly washed hair and if I just put on like a matte red lip, it just makes everything seem special.
In Asia, red is the colour of joy; red is the colour of festivities and of celebration. In Chinese culture, blue is the colour of mourning.
If I'm feeling down in the dumps, or like I need a pop of colour, I'll put on MAC's Lipstick in Lady Danger. I discovered red lipstick when I did the Oscar season: Chanel sent me one and I realised how classic and glamorous it can be.
Comrade Blade Nzimande is complaining that EFF stole the ‘red colour’, he does not have a copyright on the ‘red colour’. There’s nothing we can steal from him because he has nothing but that skuurpot (pot scourer) face of his. Why didn’t he complain when Vodacom was red?
I always carry a good lipstick with me, like MAC in Ruby Woo. It has a matt finish, the essence of that vintage glamour look.
Black seems to make a colour cloudy, but darkness doesn't. A ruby could thus keep getting darker without ever becoming cloudy; but if it became blackish red, it would become cloudy.
For me, pink or lilac is the colour of innocence, it's the colour of love, it's the colour of everything happy.
Ruby Woo by MAC is my fav.
In the studio, we adhere to a strict colour code. Developed over decades, the colour code consists of a finite and precise colour palate... The whole world as we experience it comes to us through the mystic realm of colour.
Sometimes I can see colour without opening my eyes. I saw that Billy's heart was no colour and every colour. Like water or diamonds or crystals, it's pure and reflects the light.
A beautiful feature in the colour wood-cut, and one unique in printing, is colour gradation... Two brushes are sometimes used, one charged with more potent colour than the other. Line blocks are nearly always printed with some variation of tone, and often in colour too.
I envy those who can wear red lipstick or any bold lip colour, really. My top lip just doesn't seem to take colour - there's nothing I can do to change that, so I usually just use a nude on the bottom lip.
Red is a colour I've felt very strongly about. Maybe red is a very Indian colour, maybe it's one of those things that I grew up with and recognise at some other level.
Lipstick is iconic. It's the one product that marks out an era, and a certain lip colour can define a season. It makes me feel more 'done'. I wear a beige lip in the day, but red when I'm going somewhere - it makes that transition from day to night. I just slick it on; I don't bother with lipliner.
I first came up with the idea for the colour-chart pictures back in 1966, and my preoccupation with the topic culminated in 1974 with a painting that consisted of 4,096 colour fields. Initially I was attracted by the typical Pop Art aestheticism of using standard colour-sample cards; I preferred the unartistic, tasteful and secular illustration of the different tones to the paintings of Albers, Bill, Calderara, Lohse, etc.
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