There is this feeling hard to put a name to — the closest adjective I find would be endearment — when I find myself selecting the same palettes over and over again throughout a given period of time, this in spite of my large, and seemingly ever-growing collection. If repetition occurs when so many fresh alternatives clamour and battle for my attention, then it must mean these few offenders are special indeed.
And if I practically wore only three palettes during the month of March, with its thirty-one possibilities, I must colour myself elated with my eyeshadow choices.
One of them I have already talked about in a dedicated post — ‘Hela’, the new collaboration between Oden’s Eye and Angelica Nyqvist. You can read my review here. The other two have been, as of today, discontinued, as sadly mandated by the corporative ethos of Colourpop. Regardless, favourites of the month they were and foreseeable favourites they’ll remain, so I cannot not talk about them. With a droplet of luck, you might be able to catch them for sale from private individuals.
I am keeping the packaging for both palettes and it’s easy to understand why I would not only want to protect them longer; but why I refuse to part with such highly-detailed, pleasant-to-touch boxes. I now verify both were part of larger Autumn/Halloween releases, a fact which ought to grant a giggle given the fact Spring has just sprung in the Northern hemisphere.
Tim Burton’s The Nightmare Before Christmas
‘Tim Burton’s The Nightmare Before Christmas’ was, arguably, Colourpop’s most asked for collaboration. When it finally arrived on the last week of October 2021, there was great backlash on Instagram and Reddit, as fans felt it missed the mark. My own opinion was so-and-so. While I agreed Colourpop missed the chance to bring back to its catalogue original colours for the lipsticks by making Halloween-appropriate greens, oranges and purples instead of the safe nude-red-pink combo which does not even marry the property well; I enjoyed seeing the ‘Jelly Much’ formula make a comeback and could not hate the colourway of the eyeshadow palette, which is named after the movie.
The palette, too, found criticism for its absence of colour. I do not think it misrepresents the movie *that* much, but then again I’m no longer a fervent admirer of Burton’s, therefore my standards are not as high. (It’s worth noting TNBC was directed by Henry Selick.) ‘Nightmare’ is a unique mixture of uninteresting greys and browns, these making about half of the palette, and pinks, one dark orange, one violet, one golden peachy colour and a dark shade with nuances of purple, though these don’t translate onto the skin. To me, it looks like Colourpop focused more on the fictional place of Halloweentown (where colours are more subdued) for the colour story rather than the movie as a whole, for colour in TNBC is mostly associated with the holiday of Christmas. Even if the exclusion of a neon-green for Oogie Boogie appears to be a capital sin, we must remember his burlap only acquires this colour when the lighting of his lair makes it so, and the character is colour-coded green outside of the actual movie for the most part. Is it so bad that Colourpop kept green out of the palette? I don’t think so. Then again, I do think one of the other shades, possibly “In My Bones”, could have been replaced with green.
One-fourth of the palette contains a “not for use in the immediate eye area” warning which, as always, I ignored. It’s not like I even wanted to, but I had already decked out my lids in bright pink when I remembered to read the labels. (Don’t be like me; use your brain.) For what it’s worth, I never have issues with magenta-based pigments, as far as allergies go, and had no staining whatsoever with ‘Nightmare’.
I love how unique this colour story is as a whole, not just for the brand or my own belongings, and how challenging but fun it is to play with it. I have created more monochromatic grey and punchy pink and purple combos out of it. In the future, I might actually switch out “In My Bones” for a green, just to feel like I own (my) perfect TNBC palette.
As far as specifications go, the palette contains 12 shades: 7 mattes, 1 shimmer, 2 metallics, 1 topper, 1 duo-chrome, in a total of 14 grams. It’s made in the USA and cruelty-free.
‘Witching Hour’ is the name of the eyeshadow palette which is part of Colourpop’s second collaboration with the Disney movie Hocus Pocus. (Seeing as a sequel is due to premiere later this year, a third round seems likely.) I am not a fan of the movie. Sure, I’ll watch it with childlike wonder every time Halloween comes around, but I am not a fan — I can’t even tell when it was I watched the movie for the first time, for I was a toddler when it premiered in 1993 and, in later years, the Disney Channel was, alone, as much as the whole cable package was, a ploy my parents were too smart to fall for.
I did not think much when this second round dropped prior to the TNBC; indeed, I found it less alluring than the first, with its more mature presentation. In time, though, I did fall in love with the 1960’s Bewitched-like illustrations present in the products’ packaging and the Autumn-appropriate colour scheme. So, being an October baby who was born into her favourite season, I had to get my hands on it. I repeat: it’s the *perfect* Autumn palette.
The palette is arranged in such a way you can make duos out of shades if you read them as columns, or combine these with the first row of neutrals. I am wearing the first column from the left and ‘Summon Us’ as I type this post. It’s a very versatile colourway, which allows you to do something more neutral and golden, or overall warm-toned, or even dark and vampy. Does this wardrobe of eyeshadows reflect the property? I think it so. Not to mention the lip colours in the collection complement the pigments to perfection.
‘Witching Hour’ contains 12 shades: 7 mattes and 5 shimmers, in a total of 11 grams. It’s made in the USA and cruelty-free. Only one shade comes with a warning and, like it happened with the TNBC palette, I had no issues of it staining my eyelids. Again, do read labels and patch-test prior to playing with pigments.