You’ve probably seen actress Ayo Edebiri in Hulu’s The Bear, where she plays an eager and ambitious sous-chef. Or maybe you’ve laughed at a few of her jokes on Comedy Central’s Up Next. But we’re here to bring your attention to her makeup last night at the Golden Globes. On the red carpet, the comedian looked like she’d stepped straight out of a fairy tale in what we called a “Cinderella moment” with elegant opera gloves and a deconstructed Rosie Assoulin dress. And her makeup, done by Chanel Beauty makeup artist Tasha Reiko Brown (who has worked with Gabrielle Union, Alicia Keys, and Letitia Wright) fit the part.
How did she do it? Brown used soft brown shades, a sharp winged liner, and lots of hydrating products to create a dewy look. “I wanted the face to have some structure to match that of the dress,” she shares in an exclusive interview with the Cut. Brown started by prepping the skin with a light steam and Chanel’s holistic N°1 de Chanel skin-care collection. She then layered the brand’s essence lotion, revitalizing serum, and rich revilatalizing cream to make sure Edebiri’s skin looked plump all night — but mostly in photos, who are we kidding?
The base Brown used is the brand’s foundation in shade BD111. And her best-kept red-carpet beauty secret is Chanel’s multi-use glow stick in a shade called Or, which Brown calls her “secret to success.” She says, “It’s on every face I touch. It feels like painting with light.” Edebiri’s champagne gold, shimmery eye shadow was topped off with a cat eye. Last, the actress’s brown lip, which gave ’90s beauty vibes, came courtesy of the brand’s lipstick in the shade Intuitive.
Brown’s pro tip: As a final step, she always takes the small amount of foundation left over on her brush and whisks it over set powder. “This ensures that powder isn’t the last texture seen on the face and allows you to add radiance back to certain parts of the skin while keeping certain areas matte,” she says. So if sun-kissed skin is your goal, don’t be afraid to layer cream-based products on top of powder.
Another trick of the trade? Brown skipped contouring Edibiri’s complexion altogether and used concealer instead. She placed a slightly lighter shade of concealer underneath Edibiri’s cheekbones, where contour normally sits, to trick the eye for added dimension. “By adding light there, you infer that there’s shadow on top,” she explains. “And I was able to give her face structure without cutting it too hard with a deeper contour.” How’s that for a GRWM.