Alanis morissette 2020 skin#
Her two top picks are the Sacred Rose Water Aura Cleansing Mist from Logan Hollowell and Eminence Organic Skin Care’s Stone Crop Hydrating Mist.Īfter a nice spritz, she treats the skin with the Vintner’s Daughter Active Treatment Essence and the brand’s Active Botanical Serum. Like Alicia Keys, Morissette loves to intermittently mist facial sprays for extra moisture and a calming effect.
SHOP NOW Then, it’s on to treatments, serums, and eye creams.
In her final cleansing step, Morissette swipes the T-zone with a Narayan Beauty’s Enliven Toner Pad. Then, it’s on to Indie Lee’s Brightening Cleanser and another exfoliant: Tammy Fender’s Epi-Peel, which she loves for its short ingredients list. On a monthly basis, before her second cleanse, she exfoliates with Cure’s Natural Aqua Gel, which is great for “when I feel my skin getting kind of ruddy, and I can literally feel the thickness of the dead skin on the top layer.” she says. “It feels like water,” she says, and it doesn’t sting her eyes. Alkaitis Organic Purifying Facial Cleanser, then she removes makeup residue with her all-time favorite: The Body Shop’s Camomile Gentle Eye Makeup Remover. “I never really feel totally cleansed until I clean my face twice,” Morissette says. She might include different products on a nightly basis, but these are some of her favorites, in application order. And then, as soon as I get into this ritual-if I have time-it does literally give me a boost, self-esteem-wise.” “I think grooming is a massive part of self-care,” she explains. “I like to mix in new things just to shock or surprise my skin.” In general, though, she loves a good self-care session. “I’m high novelty and need variety,” she says in the video. Behind her bathroom vanity stands ceiling-high shelves stocked with tinctures, creams, and oils because she just can’t stick to one product rotation. For all of its melancholy, Such Pretty Forks feels personal but never profound.Alanis Morissette’s “Go to Bed With Me” video for Harper’s Bazaar reveals that the singer-songwriter, 46, is very passionate about skincare. The record’s most interesting tale - the final tune, “Pedestal,” which could double as “You Oughta Know, Part Two,” since she curses a friend or ex who climbed the social ladder by dropping her name - might be too gentle to raise the eyebrows of the person she’s skewering. For all the emotion she pours into crafting her stories, her songs seem to blur together. And on “Her,” she sings of being on her kitchen floor, wanting to reach out for help over a warm piano line. She picks apart a litany of ways she’s been wronged on “Reckoning,” even describing her death in the third verse - but it’s a gentle reckoning with acoustic guitars and strings. Her personal revelations about “the end of Superwoman-ing” on the insomniac rumination “Losing the Plot” sound ironically sleepy. So while she has caustic observations (“You see the figure skater, I fear the ice is thin,” she sings on “Missing the Miracle”), they’re often buried in plinky, rhythm-less, new agey soundscapes that have more in common with that other Nineties music juggernaut, Windham Hill, than the sounds people summon when they think of her. And she stays in that realm for much of the rest of the record. On the opening number, “Smiling,” she revisits the contemplative vibe of “Uninvited” to narrate her “life of extremes” and “the anatomy of crash.” But the feeling quickly transitions to adult-contempo schmaltz, and she dwells in the sort of soft-rock twilight zone that her Nineties recordings seemed to rebel against.