The Bite Magazine - Spring/Summer 2022 - Issue 31

bitebookreview The following pages are a collection of elfin looks, a mesh of various colour shades on the eyes, face and skin or the whole face matching the hue of the cloth- ing. A couple of distorted images give a futuristic space effect, while blending provides a polished look. It gets more defined with bold eyeshadow, lipstick palettes and decorative pieces enhancing the face. The splattered face paint in different hues gives a different perspective, while the tonal looks provide an immac- ulate natural nude effect. Jonas delves into the fantasy world with his horned devil in grey and black special effects make-up. He describes how he met the model. “In Capoeira, I saw this guy, and something about him excited me - this beauty and rawness - he looked like a caveman.” He told the guy he looked like a devil and had been look- ing for a devil. "Two months later," Jonas said, "I did a fashion story and put him in like a devil, with big horns and everything.” He follows this up with bare-chested men against symbolic graphic backdrops, their faces covered en- tirely or partially with black warpaint, a peel-off mask or surrounded by flowers. The emerging images are a fusion of freckled, tonal and various colour make-up, more nudity, bold and refined colouration, accesso- ries, fairy tale enchanted wintery scenes and gothic looks. Jonas is diverse with his stories which make his artistry current and exciting. In the last section, the author revealed he had wanted to do an underwater shoot for seven years. Still, it's difficult to get models to do this as many are uncom- fortable being underwater, or designers don't want to get their clothes wet. He finally got two models, Deano and Rebecca."I painted all the make-up, used the same pancake and system they used in the 1940s filming Vivien Leigh and used a powder on top to fix the make-up and make it waterproof.” This excellent book demonstrates the passionate work of a hair and make-up which goes beyond the surface of a vision. He sees the context, the depth, the narra- tive and the finale. As Bond magazine says in the epi- logue, “Jonas in OMG! , exposes the depth of his talent and love of make-up - painting a feeling on [the] skin - and his imagination in the stories and visions he has realised.” It expands the reader’s imagination to con- vey the message given by the author and appreciate what he sees and visualises in his mind. https://www.instagram.com/jonasolivercom/ Model: Allen Lovell Photography: Oggy Yordanov Model: Ellen Burton Photography: Oggy Yordanov