I hate knowing where people go to the bathroom. You follow them going to pee, to eat - I hate everything when it comes to reality shows!
There was a time when you would dream about, say, movie stars. Now, you virtually follow them into their bathroom when they're going to the loo.
Even with - the best make-up in the world won't look good if you don't cleanse and exfoliate and have a good basic regime. This is why one of my goals has always been to create a skincare line.
Makeup is about balance. When the eye makes a statement, the lips should be quiet.
Makeup is an accessory to fashion. You buy a bag, you buy shoes, you put on eyeliner, you buy a lipstick, makeup compliments the clothes.
I've seen makeup destroy people and make them look bad if it's badly done.
I like shocking, but I don't like to shock as an automatic process. Sometimes it happens, but it's not my main drive.
Go with what you're attracted to.
It's very hard for me to photograph someone when I'm not attracted by who they are.
I have always been attracted to faces that are different.
I was a very lucky child because at the age of 16, 17 years old, my parents would buy me clothes from Yves Saint Laurent, which was an incredible luxury at the time, but I was attracted to that whole world. I had a pretty nice little wardrobe by the age of 17.
Sometimes I'm attracted to more odd girls with stronger faces and features or a softer beauty with a lot of character.
I made contours and all that, but in real life, you have to be very careful with that because you can go out in the street and look terrible. All those girls who show how to do contour, they do it quite well, but they're like makeup artists. They're in artificial light.
I love to collaborate with artists, like Guy Bourdin and Steven Klein, who don't have any boundaries.
I had no connections, and the fashion world was a closed elite. So my mother made appointments for herself with three top Parisian makeup artists and spoke highly about me... she was my first publicist!
I love the architecture magazines and all of the French magazines for decoration or whatever. I end up enjoying them more sometimes than the fashion magazines.
I really wanted to have a different approach of beauty because when I came to America, they were still heavily, heavily plastic. The ads were so heavily retouched.
I'm always looking to the lightweight superproduct that you apply and almost don't see. That's the ultimate, at least for me.
From the start, I used a different kind of girl in Nars campaign images. My choice to use models of colour such as Alek Wek, Naomi Campbell and Karen Park Goude was absolutely a deliberate one. I felt that makeup was universal and should apply to everybody.
When you photograph someone, you have to make them feel good, and you know that they want to look good. It's the same relationship that you have when you apply makeup on somebody. We're almost like shrinks.
As a make-up artist, you always want to be in a good light, whether you're walking down the street or in a restaurant. It is a very key element to me; you can't apply good make-up in a bad light.
It's one thing to read about how makeup is applied. It's another thing altogether to watch it being put on.
I don't think there's a major change between runway and real life anymore.
Looking at flowers, simple things in life. I don't need to look at gold and a castle; sometimes its very simple things that are very beautiful. I am keeping my eyes fresh to find beauty in many places, and in gold, too, sometimes!
Makeup can make a woman look more beautiful at every age.
We are not afraid to be a bit different, to make shades that are bold.
I'll keep creating modern, deep, rich and adventurous colors and products that inspire creative expression every day.