What’s in a name? Using a Stage Name in Performance

What’s in a name?

A name is a label – it’s what differentiates Jenny from Sue, it’s your personality, your quirks, your reputation. It changes depending on who is using it and if they’re mad at you (parents/siblings/partners especially). It most likely links you to your heritage, your birth country, your ancestral home, or that of your spouse.

When you are a performer, it’s also a brand.

When you start your journey as a stage performer, whether you’re an actor, model, musician, dancer or public speaker, most often you sign up and spend the first years of your education just as ‘you’. But as you begin to learn and evolve, perhaps you find yourself becoming someone else or adopting a different persona when you’re out in front of a crowd. Maybe thinking of your ‘other’ self as being the performer helps to ease your stage fright or assist in giving your best character performance or maybe that character IS the performance. Maybe at this point you decide you are no longer Sue but Suzanne the Magnificent, or Suellen Strange, or Sneaky Sue, depending on your character.

Luna Queen by Kalikah Jade, Adelaide Bellydancer
Luna Queen by Kalikah Jade, Adelaide Bellydancer

Deciding on whether to commit to a professional stage name is a big decision, like most brands, once it’s out there and you are advertising yourself, it’s really really difficult to change once you’ve built an audience and/or community – Christina Aguilera went to Xtina then back again, Snoop Dogg turned into Snoop Lion then Snoopzilla and who knows what the next name will be. As an audience it’s confusing and it’s really tough to keep tabs on your performer buddies if they keep switching names!

If you decide that a stage name is the way to go my advice is:

  1. Google it a few times, to be certain that the name isn’t already used or doesn’t have unfortunate connotations or associations
  2. Pick something to suit your performance style that is easy to say and spell
  3. Practice using it privately or with a trusted group of friends to see if you feel comfortable being referred to by that name
  4. Be absolutely sure that you want to stick with it

When I first started out as a soloist, I used my first given name. That’s who I was, who my teachers and classmates referred to me as and what I was most comfortable with. But there came a defining moment, where with the advent of social media and more public accountability I made the decision that for professional & privacy reasons I wanted to give myself a stage name. This also helped in compartmentalizing my social/dance life, everyone who knew me from then on knew Kalikah, and close friends, family and work colleagues knew only my given names.

Siren Fusion Solo
Siren Fusion Solo, Cirque de Serpentine, Brisbane, 2013

The challenge with having a stage name is that it’s really really hard to change people’s mind as a performer once they know your ‘real’ name, or if they knew you prior to taking up your new identity. Personally I really identify with Kalikah and I have become my own brand so calling me anything else while I am at a show or in training (unless I’ve given explicit permission) is deeply jarring, both on a personal level but also at a performance level. It really ruins the air of mystery I try to maintain, especially at shows. I’ll never forget the time I was just finishing up a big stage show for the Adelaide Fringe, and I was heading out into the lobby to meet my family who had come along to watch. My mother got so excited to see me and screeched out my given name amongst the crowd and absolutely everyone heard it! In that instant it kind of ruined that character I’d built up during the show. Having said that, one lesson I’ve learned is that your parents will never, ever call you by your stage name ever. Even if you remind them!

A stage name evokes a sense of mystique, it gives the audience a sense that the person you see is not just your average citizen who goes to work like the rest of us, no she is ‘of the stage’ and therefore unique and exotic. I see my job as a performer to be like a game of imagination, the anonymity of an exotic name better allows the audience to believe even for a minute that they’ve been whisked from their everyday lives into a glimpse of the world I create through  my art.

I think if I was to give any advice it would be to make it crystal clear to your troupe, teachers and colleagues that from now on you’d like to be referred to at all times by your stage name, at practice, at shows, online, to help get into your new persona.

As I touched on earlier, using a stage name is also a fantastic way of keeping your private life private. At the time I was coming up with my stage name I was also applying for my first graduate jobs which required me to have an online presence, so I definitely didn’t want any future employers looking me up and seeing my dance footage out of context. I was also acutely aware of the possibility of unwanted attention, so for my own personal safety and responsibility I thought it would be a good idea.

So for me using a stage name has had a huge number of benefits –

  • I’ve been able to seperate my dance persona and my private persona
  • my stage name reflects the kind of imagery I’d like to think I evoke as a bellydance performer
  • I’ve been able to build a strong brand and presence around my stage name, allowing me to be comfortable in being Kalikah at any dance functions or performances, seamlessly able to get into or maintain my stage persona
  • my privacy is protected

Everyone has their preferences for their identity, and for me having a stage name has worked for me for over 8 years. I no longer think of that name as just a label, it’s me & everything I stand for as a bellydancer and as a performer!

What do you think? Do you have a stage name? Do you choose not to have a stage name? What have been your greatest benefits from either using one or refraining from using a stage name?



Belly-Burnout: What happens when you lose your mojo?

As a student of bellydance for nearly 10 years, I’ve had many moments of wanting to give up my dance, for a myriad of reasons. The past couple of years, I’ve felt my inspiration waning, despite attending retreats, intensives and teaching. There seems to be something missing from my dance at the moment which has caused me to mentally and energetically pull back and examine where my journey is headed. For the better part of ten years my mind has been occupied with Bellydance – going over choreographies and performance ideas in my head, thinking of music to dance to, finding costuming inspiration, thinking about upcoming shows/haflas/intensives/trips/gigs and keeping tabs on what everyone else is up to on social media.

So when I started feeling dread at the thought of preparing of a show, or the thought of attending a weekend of workshops exhausted me before I had even signed up, I realized that it was time to take a step back. Call it Belly-Burnout, if you will. For a long time this feeling churned inside and I felt guilty that this was happening to me, that somehow it made me a failure or a fake or someone who *gasp* isn’t as dedicated to dance as everyone else. That because I had come so far that it was too late to just stop, that I had to keep going for the sake of students and the expectations of the community, to be seen to participate and not become irrelevant or forgotten. So I pushed through, but I found that I was spending more time and energy trying to force ideas and worrying if I would be able to come up with something that I feel like that’s when my mojo disappeared.

Now, the creative process is a very interesting creature – for most of my professional career I have been employed in creative roles and for me when the ‘aha!’ moment happens, all things come into place, and I find myself re-energized and invigorated ready to explore an idea. The thing is though, the road between development of an idea and the ‘aha!’ can take anywhere from a moment to years, which for me (and I’m sure for many others) is the most difficult stage to get through. But once that moment happens, that’s where magic starts!

I haven’t had an ‘aha!’ moment in quite some time. However instead of stressing about it, I’ve thought about what else is going on in my life and where I need to direct my energy so that I can nurture myself back to a point where I am ready to feel creative in dance again. Though I still drill a bit at home, I have taken up other forms of exercise to give my body a break from what it is used to, build up my strength and stamina, and discover a different way of movement. I have started sketching again after many many years of not making the time having been so preoccupied with dance (and also full time work).

I want to love bellydance again. It’s all I think about during the day, which really indicates either a deep love or obsession. I want to be better, I want to improve and I want to continue my dance journey. But first I need to take some time out to realign and readjust so that I can be truly present and enjoy every moment. There is no shame in feeling the burnout or wanting to give up, it’s natural and normal. A teacher once told me in class that, “Bellydance is like falling in love with someone: You discover them, and they are all you think about. You can’t keep your hands off each other and every moment is exciting and thrilling. A few years later you’ve developed a deeper relationship, you might not be so hands on but you know one another inside and out. Maybe you even think maybe you’ve fallen out of love. But then one day, something happens and they remind you how amazing they are and you couldn’t imagine life without them.”

This is how I feel about dance. I think about the journey that has taken me all over Australia, the people I’ve met, how as I’ve grown as a person my dance has grown too. Losing your dance mojo doesn’t mean the end. It just means a little bit of time needs to be taken to rediscover that hunger, that desire. It might not happen right away, but I have faith that it will. And that’s OK with me.

Behind the glitter: My top stage makeup essentials!

Kalikah Jade - Smokey Eye

Every professional performer needs their stage toolkit, I’ve noticed over the years I have a few essential go-to makeup products I cannot live without that have been tried and tested to work for me in all conditions. Extreme heat, oily skin, unflattering lighting, low light, outdoor, indoor, festivals, you name it – take a peek into my top products I use religiously every time I venture out in costume!


  1. Revlon colourstay liquid foundation, $34.95

    I love this foundation – I wear it daily for work, and also use it for stage. It’s light to medium coverage which can be applied as liberally as you need without feeling caked on or oily.

  1. MAC Khol Power eyeliner, $32.00

    You can’t go past a great classic Khol eyeliner. This guy won’t budge, once applied it will take an oil based product to remove. Easy to apply and smudge for an instant dramatic smokey tribal look.

  1. MAC Mineralize Skinfinish powder, $49.00

    I use this when I need maximum coverage over my foundation. It ensures a smooth, flawless base that will last right until you take it off.

  1. MAC Lipstick in Russian Red, $36.00

    This red lipstick will get you through in a pinch, the colour is rich and glides on with a beautiful creamy consistency that will also condition your lips. This will take several attempts to remove, for me it’s survived music festivals and moshpits as well as performances with just one application!

  1. MAC Lip Pencil in Ruby Woo, $30.00

    The perfect pair to the red lipstick to get the right shape, to avoid pesky bleeding. A creamy, highly pigmented finish ensures maximum coverage.

  1. The Body Shop liquid eyeliner, $19.95

    I like the applicator of these ones, sometimes I find other brands a bit hard which then affects the consistency in application. Only in extremely humid conditions have I experienced a bit of running, and only because I had something layered over it that ran first!

  1. MAC eyeshadow in Carbon, $33.00

    Every girl needs to own this. The black smokey eye is your best friend once you have this eyeshadow. Again it’s not going to budge unless you remove with an oil based makeup remover, it’s that good.

  1. Maybelline Colossal Volum’ Express Waterproof Mascara, $19.95

    I like these cheap and cheerful mascaras, they pump up the volume for long lashes. I also like to layer several different types (lengthening, voluming, waterproof) but the Volum’ Express is the one I use mostly.

  1. Eyelure eyelashes in #143, $12.99

    These lashes are long enough to give your eyes some drama but not too long that you can’t see! The Eyelure range has a huge variety of lengths and thicknesses, and once you know which number is your favourite it’s super easy to refill next time!

These products have been absolute staples in my makeup bag for more than 5 years – don’t be fooled by price point either, the MAC products above will last you years, a fabulous investment that can be worn on and off stage. Being oil based they don’t sweat off and the pigmentation is fantastic!

Do you have any favourite products? Comment below!

Going Pro: My Top Tips for Negotiating with Clients

In my time as an entertainer, I have had experiences where I have felt unsafe, disrespected or misled about performance expectations which put me in a position of dis-empowerment and vulnerability. This to me occurred because I did not set any clear boundaries of what I was prepared to do and what was expected of me by the client.

When you’re negotiating a gig for yourself, it’s often a challenge to ensure you are in the driver’s seat in terms of payment and expectations. Too many times in my earlier years was I found myself in certain situations which had led me there because I did not have the confidence or know-how to communicate my expectations to a client.
As a result of some of these unfortunate events I crafted my own guidelines on how to engage or respond to certain types of clients, ensuring a favourable, respectful outcome for both parties as is the right of the client and the entertainer. I’ve distilled them into 6 pointers but if you have any more please feel free to comment below.

1. ALWAYS receive payment in full prior to the performance, preferably a day in advance, with a non-refundable deposit of 30% for an initial booking enquiry. This is a non-negotiable term for me for a number of reasons:

  1. In paying the deposit, the client reserves the date & time, confirms the venue, performance rate and expectations for length of performance. If for some reason I am unable to fulfill the booking this is refundable if I cannot find a replacement.
  2. In paying a deposit this commits the client to avoid a last minute cancellation.
  3. By paying my complete fee in full prior to the performance I become responsible for honoring my end of the deal to deliver a performance as agreed.
  4. MOST IMPORTANTLY – If my booking has been paid for in full and for whatever reason I feel unsafe, disrespected, misled or otherwise vulnerable or disempowered, I HAVE THE RIGHT TO TERMINATE THE PERFORMANCE AT ANY TIME and leave with my dignity intact, not continuing a performance because I haven’t been paid yet. This is a specific term I put into my quote, and by paying the deposit amount the client agrees to my terms & rights in engaging my services.

2. Don’t be afraid to ask more than the ‘going rate’, especially if you are a soloist. If you have certain skills others don’t have in your local community, use that to your advantage! An expensive item has more perceived value than a cheaper one, so you might not win every single gig but the ones that you do perform at will respect you more if you give yourself the value you deserve.

3. Don’t be afraid to say no. If you think a gig is not really your thing, or has a super low budget (or none) more suited to students or amateur performers, make it clear what your expectations are if they are negotiable in order to make it the right gig for you. If you pick and choose which events you perform at, you will find the kind of crowds who will appreciate your skills.

4. Give yourself a ‘Charity Quota’. If you get approached to perform for free or at a very low rate, unless you really believe in the cause or dance with a student troupe, limit your charity (that is, free) performances to perhaps 2 or 3 a year tops. If you politely inform the charity or organiser that you only perform pro bono gigs for certain causes or events, you can perhaps instead let them know you are available for paid or corporate bookings, but that your students would love the opportunity for some extra exposure and experience. The exception to the rule is local dance community participation.

5. Be sure that you are clear in your photo/video policy that is agreed upon payment in full. If you do not want your footage on youtube/facebook/anywhere else make sure you let the organisers know that permission needs to be given before any footage from a private booking goes online.

6. Have a set transport fee that is extra on top of your performance fee, depending on the distance travelled. For example, a 1hr drive to and from a location might incur an extra charge of $80 including toll costs. This ensures that your time & transport costs are taken care of without impacting the base performance rate.

Have you ever had a bad performance experience or have been taken advantage of by a client? Do you have any tips or advice on how to approach this for next time?

4 Steps for Successful Performance – Taking Your Stage Presence to the Next Level

Kalikah Jade at Evernight 4, 2012
Kalikah Jade at Evernight 4, 2012

Have you ever wondered why there are some performers out there that have that special something which draws you to watching their every move? Though it might not always come naturally, with some practice you too can learn to have charismatic stage presence for powerful stage performance.

1. Transformation works both on the inside and the outside. In your everyday world you might be a busy parent, have a demanding career, or have personal issues outside of dance. Unless it directly relates to your character or performance theme, leave your ‘other’ self behind and become the captivating creature looking back at you in the mirror. If you use a stage name/persona, find your character and use this character to focus your performance.

2. To mesmerize is to captivate with intention. Be connected to every move you make and feel how you want your audience to feel. If you are playful, let this shine by using eye contact or even improvisation to genuinely connect with your audience – they WANT to be engaged by you, it’s up to you to use your skills to keep them interested and invested in your performance.

3. Your face tells a story, use it! Eye contact is a powerful tool to engage with your audience and establish confidence. Don’t be afraid to lock eyes with an audience member and exchange a moment with them – it will feed your performance and add an extra level of charisma to your stage presence.

4. Whatever happens, be confident. At a subconscious level, we can detect when a person is anxious or otherwise unsure of themselves, especially when this person is the focal point on stage. Whatever happens on stage, own it and work with it, even if you make a mistake. Some of the most unfortunate stage mishaps turn into a great test of your ability to work with an unexpected situation and handle with grace, and in character.

Do you have any other tips to improve your stage presence? Comment below!

5 Tips for a flawless stage face

Kalikah Jade - Smokey Eye
Get stage-ready makeup with my quick tips & notice the difference in your look. 

Performance is often about illusion – constructing a story through costuming, movement, staging, lighting and sound. Often stage lights aren’t always the most flattering, or sometimes they’re so strong that when you look back on performance footage it’s like you just woke up out of bed! Going to all the effort to construct a believable illusion extends to your most expressive feature – your face. Now from my own experiences here are my top 5 tips for a flawless stage face that will suit any condition!

1. A Strong Foundation

The base of your face is imperative to get right – the foundation helps makeup to stick, and serves to blank the canvas that is your face so that you can tell your story with colour and contouring. Ensure that you always moisturize before putting on your foundation, and select a matte variety – this will ensure that you won’t have the dreaded ghost face when you are on stage. For extra staying power use a mineral powder to set, that way you won’t sweat it off!

2. More is More

Stage lights are like a black hole – they suck in your features and wash them out! Everything on stage needs to be BIG to be seen. You might feel ridiculous but experiment with darkening your brows, adding more eyeshadow, more blush and fake lashes and notice the difference. I take a lot of tips from drag queens who make up their faces to give an illlusion of face shape – their technique is incredible for making features stand out.

3. Layer It On

When it comes to building up colour for stage, one swipe of eye shadow isn’t going to cut it. Build up colour slowly and carefully so that it becomes opaque and that way stage lights won’t cut right through.

4. Don’t Sweat It

Ever wondered how people can get hot and bothered on stage but their makeup STAYS EXACTLY WHERE IT IS??!? No its not magic, it’s the type of product. Use oil based product and voila, you won’t sweat off your makeup, provided that there is enough build up on your face to form a big enough barrier.

5. What Glitters is Gold

Don’t forget to finish off your look with some glitter! Glitter is awesome because it highlights, adds depth and generally sparkles, making you look like a crazy, fabulous fairy. Though it doesn’t generally show up a heap on stage it brightens your face and is fun to apply!

Blue glitter stage eyes.
Lashes – check. Bright lips – check. Glitter – double check!

Do you have any hot tips to share? I’d love to hear more!

5 Quick Costuming Tips Every Bellydancer Needs to Know

We’ve all had costume fails, but with adversity comes experience! Here are my top 5 tips every bellydancer needs to know about costuming & looking great on stage!

Blue and Green Costume by Kalikah
Blue and Green Costume by Kalikah

1. Hairspray goes a long way!

From stopping sneaky runs in body stockings/thin fabric to helping your headgear or sword stick better, hairspray is essential to the performer’s bag of tricks. Lightly spray your fingers then swipe your brows or apply directly to set them ready for stage. Loading your hair with hairspray provides grip for swords, stops headdresses from slipping and also helps to keep clip in hair extensions from falling out, especially if you have fine or just washed hair. Just remember to backcomb first to create texture!

2. Layer it up

Once you’re on stage, the bright lights strip away a lot of colour and depth to your outfit. Add lots of different textures to your costumes – experiment with chiffon, lace, velvet and satin to go with fancy sequinned spandex fabrics to add variety and interest to your outfit. More is more! Don’t forget that once you’ve layered on the fabric, your work is just beginning – you can turn a gaudy $5 sale necklace into a stunning feature for your bra or belt and stick on crystals, beads, coins and applique to really jazz it up – just remember to buy at least two so you can make a matching set!

Blue black purple silver palette
Blue black purple silver palette

3. Back to basics

Avoid the dreaded hip belt slip moment and ensure that your belt has non slip backing to ensure it doesn’t slide around during performance. Sew a strip of velvet or felt on the back of your belt and it won’t go anywhere – especially if you are wearing a velvet base skirt underneath. To be super safe you can also pin the belt to the skirt but be wary of the pinching that will happen if it gathers in one spot. Not an ideal look.

4. Have a wardrobe palette

You wouldn’t wear the same outfit all day everyday, and this goes for costuming too! Your costume wardrobe is just like your everyday wardrobe – there are always trends, seasonal colours and also classic looks that don’t date. Try to have a foundation of colours you can mix and match with for variety & also to suit unexpected situations. For example I unexpectedly changed a routine from fan veil to isis wings, and matched my pantaloons to my wings while keeping the bra and belt set as a contrast piece, which is now one of my favourite combos!

Isis Wings Fusion Solo
Isis Wings Fusion Solo, Liquid Gold, Byron Bay, 2015.

5. Safety first

NEVER, EVER leave the house without a pack of safety pins. These guys will come in handy for unexpected issues with closures, slippery belts, holding skirt splits, or just added support if a costume seems less than comfy. And if you think you won’t need them, chances are someone else backstage might, so be prepared to help a sister out in her time of need!

Do you have any costume tips or tricks? Comment below with your personal favourites!

The Eyes Have It: A Step-by-Step Guide to a Smokey Eye That Won’t Let You Down

Kalikah Jade - Smokey Eye

Everyone’s had a bad stage photo. The first 3 years of my performance career I apparently don’t own eyebrows – they disappeared in every shot of me under lights. My eyes are also quite small and close together so I need to be sure I ‘open up’ my face with contouring when I use eyeshadow. I gradually learned how to do my stage face by taking the visual feedback from stage photographs and add them into my routine step by (baby) step. There are a million ways you can approach the ol’ smokey but I like to keep it relatively simple. I think they key is to use good quality product and layer, layer layer. Did I say layer? I mean LAYER it on. One swipe isn’t going to cut it, you need to build colour gradually and patiently. This look takes me approximately an hour to complete IF I don’t mess it up on the day. So give yourself plenty of time.

But enough about me – this is all about how I can help YOU conquer the shifty smokey eye for a dazzling stage look that can even work for evening wear or formal events. The look I’m demonstrating is for FULL STAGE so you can go lighter if it’s a daytime or a more casual event.

So without further ado –

PART 1. Foundation

Makeup Tutorial
1. A selection of my foundation & contouring products. 2. Foundation applied 3. Blush applied.

Your foundation is, well, the foundation of your look so it’s important to prep your skin so that the cosmetics we apply will stick & provide a beautiful blank canvas we can work with.

Step 1. I wash my face with a cleanser then moisturize. I let that settle for a moment while I get my gear together, then once I’m comfy I’ll add on a layer of primer under the eyes, on my nose, on my chin (I have a scar there) and anywhere else where there are some noticeable blemishes.

Step 2. I then apply my liquid foundation with my fingers, dabbing with a light outward motion, never rubbing in. If I’m having a bit of a bad skin day I’ll also apply concealer under the eyes or on any pimples, and blend into the foundation.

Step 3. Set the foundation with powder. Be careful not to be too heavy handed or you’ll go orange, and blend from the chin to the neckline, or even apply foundation there too if it’s noticeable.

Step 4. Contour lightly with bronzer under the cheekbones – bite the insides of your cheek to check where the hollows are. Follow the sweep up and gradually build – you don’t want this to be too dark. Dust a bit of bronzer along the sides of your nose, your temples and chin. We do this to add depth & shape back into the face that’s lost when you put the foundation over it. Then work back into the apples of the cheeks with blush. I lightly follow the blush over the bronzer too for a natural look.

PART 2. Colour Blocking

Makeup Tutorial
Contouring & highlighting eyes.

Once I have my foundation set up, I move onto the eyeshadow. I have a silver theme today so I have tones ranging from bright white/silver, middle grey, and black. To achieve this look I have used 4 colours. Before you start though you need to define the contours of your eyes and decide where they will go.

Step 5. I always take a black eyeliner and draw in my eyebrows. They look ridiculous at this stage but it’s important that they go in first. If they are not 100% perfect that’s OK for now.

Step 6. I then take a white eyeliner pencil and mark in the highest point on my brow bone under the arch, my inner eyes, the most middle point of my eyelid and the outer eye. These are the areas I would like to keep light – they are a keep away zone for dark colours. The placement of the white will open up my eyes, define the brows and give me a cat eye shape.

Makeup Tutorial
Adding eyeshadow base.

Step 7. I take my light silver/white shadow and go over the highlighted white parts just to get an idea of shape.

Step 8. I have a light grey which I then use all over the lid, blending around the white areas but not covering them too much. I go over these layers several times to build up coverage, blending between all colours, adding bits in when they look like they have disappeared.

Step 9. Using an eyeshadow brush, I have a darker grey which i use in the crease of my eye, blending outwards and also underneath the eye. A brush will allow you to blend softly as you go to avoid lines on the face. Continue building up colour until you can see a real contrast between the lid, crease and brow.


Makeup Tutorial
Adding in black. Notice the difference?

Step 10. I take another smaller brush and add a tiny bit of black in the crease of my eyelid and outer eye, blending out. I build up the colour very slowly alternating between larger brushes to blend and smaller brushes to apply more black in a small area. You can see in the image above the difference the black makes!

Step 11. Using the same black on a small brush I go over my brows, filling them in and shaping them. You can see the filled in brow on the left compared to the right.

Step 12. I line my eyes, again building up lots of colour. To make the eyeliner stick and to create depth you can also go over the eyeliner with black eyeshadow. I have a fantastic skinny brush which is perfect for precision in situations like these. Again if you overdo it on the black you can re add in grey or silver so they don’t get muddy.

Makeup Tutorial
Both eyes with black eyeshadow & eyeliner applied. Eyebrows have been filled.

Step 12. Go over your eyeshadow in spots that might be too dark, adding in light colour and blend in the black.

Step 13. If liquid eyeliner is your thing you can add it in (I like to set my eyes with liquid eyeliner once lashes have been attached) plus any glitter you might want to use to highlight your look. I put silver glitter on the bits contoured earlier.

Step 14. Apply your mascara. I use 2 (or 3 if I’m feeling a bit crazy) types – a waterproof volumizer as my first coat, then 2 coats of lengthening mascara, on both top and bottom lashes.

Step 15. Add your false lashes. Be careful to only use a tiny amount of glue along the edge of the lash, and allow to dry slightly before applying. Once my lashes are on I like to add another swipe of liquid eyeliner  to smooth over any bumps.

Step 16. Grab your lip liner and line your pout with your favourite colour. Coat with matching lipstick, blot, then reapply. I keep the lips pretty simple since for me it’s all about the eyes! I went with a matte look today but you can also add gloss or shimmer for extra depth.


Makeup Tutorial

Mascara, eyelashes applied. Lipstick added. Glitter applied to highlight. Finished!

And here’s an action shot from the afternoon!

I really hope you find my tutorial helpful, please post any questions or comments below!

Isis Wings
Sneaky audience shot from a friend’s camera phone. Performing with Isis Wings!