SKU: 56101300158

Glossy Lip Volumizer - 6ml

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Description

Glossy Lip Volumizer - 6mlWil je lippen die er voller en verzorgder uitzien, zonder dat je een plakkerige laag op je mond voelt? De Artdeco Glossy Lip Volumizer geeft je lippen meer volume en een mooie glans, terwijl hij tegelijk verzorgt. Hij zit comfortabel de hele dag en is subtiel genoeg om dagelijks te dragen. Twijfel je of dit iets voor jou is? Lees verder. Wat zijn de belangrijkste kenmerken van de Artdeco Glossy Lip Volumizer? Deze lipgloss combineert een voelbaar

Wil je lippen die er voller en verzorgder uitzien, zonder dat je een plakkerige laag op je mond voelt? De Artdeco Glossy Lip Volumizer geeft je lippen meer volume en een mooie glans, terwijl hij tegelijk verzorgt. Hij zit comfortabel de hele dag en is subtiel genoeg om dagelijks te dragen. Twijfel je of dit iets voor jou is? Lees verder.

Wat zijn de belangrijkste kenmerken van de Artdeco Glossy Lip Volumizer?

Deze lipgloss combineert een voelbaar plumping-effect met echte verzorging. Dat maakt hem anders dan een gewone gloss.

  • Lippen zien er direct voller uit
  • Glanzende finish zonder plakkerig gevoel
  • Subtiele nude-roze tint, draagbaar elke dag
  • Licht tintelend en verkoelend gevoel door menthol
  • Hyaluronzuur houdt vocht vast in de lippen
  • Mango-boter voedt en maakt lippen zacht
  • Meerdere lagen stapelen voor meer volume
  • Vrij van gluten, talk en lanoline
  • Niet vegan: bevat carmine als kleurstof

Hoe gebruik ik de Glossy Lip Volumizer?

  1. Begin met droge of licht bevochtigde lippen.
  2. Breng de gloss gelijkmatig aan met het applicatordopje.
  3. Wil je meer volume? Breng een tweede laag aan zodra de eerste laag goed zit.
  4. Draag hem solo voor een natuurlijke look, of als topper over een nude lippenstift voor meer definitie.
  5. Werk bij gedurende de dag, na eten of drinken.

Wil je de lippen eerst een mooie vorm geven? De Lip Filler Base is een goede voorbereiding: hij vult kleine lijntjes op en zorgt dat de gloss langer blijft zitten.

Waarom werkt deze lipgloss voor vollere lippen zo goed?

Je lippen zien er voller uit door een slim samenspel van glans, hydratatie en een licht tintelend gevoel. Dat tintelen komt van menthol, dat de doorbloeding in je lippen stimuleert. Je lippen zwellen licht op, waardoor ze er voller uitzien. Hyaluronzuur trekt vocht aan en houdt dat vast, zodat je lippen gladder en zachter aanvoelen. De Artdeco Glossy Lip Volumizer is een niet plakkende lipgloss met volume die er ook nog eens verzorgend uitziet. Als subtiele lip plumper nude is hij precies goed voor wie dagelijks iets extra's wil zonder overdreven effect. Zo'n gloss koop je één keer en gebruik je elke dag.

Maakt de Artdeco Glossy Lip Volumizer lippen echt voller?

Ja, maar het effect is subtiel en tijdelijk. De gloss geeft optisch meer volume door glans, hydratatie en een lichte zwelling door menthol. Het is geen vervanger voor fillers, maar je lippen zien er duidelijk voller en verzorgder uit. Gebruikers omschrijven het als licht tot medium plumping-effect, niet als extreme maximizer.

Werkt de Artdeco Glossy Lip Volumizer echt voor vollere lippen als je smalle lippen hebt?

Ja, ook bij smalle lippen zie je verschil. De combinatie van glans en menthol zorgt voor een optisch voller effect. Voor meer definitie kun je hem combineren met een lippenpotlood in een nude tint. Breng dan de gloss er als topper overheen voor het meeste resultaat.

Is de Artdeco Glossy Lip Volumizer geschikt voor gevoelige lippen?

Niet altijd. De formule bevat menthol, parfum en parabenen. Bij gevoelige lippen kan dat prikken of irritatie geven. Heb je geen moeite met munt of parfum? Dan valt de gloss goed te verdragen. Twijfel je? Test hem eerst op een klein stukje lip voordat je hem overal aanbrengt.

Artdeco Glossy Lip Volumizer versus andere lip plumpers

De Artdeco Glossy Lip Volumizer zit qua prijs en kwaliteit precies tussen drogisterijproducten en luxemerken in. Vergeleken met de Dior Addict Lip Maximizer is hij een stuk goedkoper, terwijl de textuur en verzorgende werking vergelijkbaar aanvoelen. De Too Faced Lip Injection geeft een sterker plumping-effect, maar ook meer prikkeling. Voor wie een mild, dagelijks draagbaar alternatief zoekt, is de Artdeco Glossy Lip Volumizer de betere keuze. Wil je écht maximaal volume en vind je tintelen niet erg? Dan kan de Too Faced Lip Injection beter bij je passen. Zoek je een luxe merkbeleving met een groter kleurenaanbod? Dan is de Dior een logischere keuze. Maar voor dagelijks gebruik, comfort en een subtiel voller effect zonder hoge prijs wint Artdeco het hier makkelijk.

Ingrediënten & overige informatie

Diisostearyl Malate, Polybutene, Isononyl Isononanoate, Cera Microcristallina (Microcrystalline Wax), Hydrogenated Polyisobutene, Silica Dimethyl Silylate, Glyceryl Behenate/Eicosadioate, Aroma (Flavor), Carvone, Methylparaben, Ethylene/Propylene/Styrene Copolymer, Propylparaben, Mica, Ethylhexyl Palmitate, Octyldodecanol, Octyldodecyl Stearoyl Stearate, Pentaerythrityl Tetraisostearate, Irvingia Gabonensis Kernel Butter, Menthol, Hydrogenated Coco‑Glycerides, Butylene/Ethylene/Styrene Copolymer, Beta‑Caryophyllene, Terpineol, Butylene Glycol, Bht, Caprylyl Glycol, Phenoxyethanol, Diethylhexyl Syringylidenemalonate, Tin Oxide, Sodium Hyaluronate, Hexylene Glycol, Caprylic/Capric Triglyceride, Ci 75470 (Carmine), Ci 77491 (Iron Oxides), Ci 77891 (Titanium Dioxide)

We raden je aan om voor gebruik altijd de ingrediëntenlijst op de verpakking te raadplegen voor de meest accurate informatie. Vanwege productvernieuwing en optimalisatie kan het voorkomen dat de hier vermelde ingrediënten afwijken van die op de verpakking.

Fabrikant Contact:

ARTDECO cosmetic GmbH
Gaussstrasse 13
85757 Karlsfeld
Deutschland
[email protected]

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4.4 ★★★★★
Based on 1317 reviews
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Product Reviews
M
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M. Edwards
Chelsea, US
★★★★★ 4
Personal Creativity does not equal Domain Transformation
This was a good if not a great book. Its greatest strength lies in the thesis introduced early on and supported throughout that the kind of creativity that leaves a trace in the cultural matrix rests not in the personal creativity of the individual, but in what Csikszentmihalyi tags the "systems approach " to creativity. To have any effect, a creative idea must be couched in terms that are understandable to others, pass muster with the experts in the field (i.e. the gatekeepers to the domain), and be included within the cultural domain (the set of symbolic rules or procedures) to which it belongs. In this systems view, the definition of a creative person is someone whose thoughts or actions change a domain or establish a new domain (pp. 27-28). This is no easy task, especially since he or she needs to learn the existing domain or domains first, and almost always necessitates being in the right place at the right time (e.g. studying quantum physics at the beginning of the 20th century or women seeking academic opportunities when WWII broke out). Having established this in the first 30 pages, if you didn't read the remaining 350 you wouldn't miss much. But I still enjoyed reading the stories and thoughts of selected individuals whom the author deemed as "creative" according to the definition above (However, I disagreed with the selection of a few of these and would have chosen at least one more person of faith in addition to the Quaker who was briefly highlighted. Also on the issue of faith, I found the author's grouping on page 371 of studying the bible with addictive behaviors such as cruising the internet and betting on horse races to be rather laughable!). Some additional personal nuggets I gleaned from this book include the following: 1. Those who persevere and succeed must be creative not only in their manipulation of symbols but maybe even more in shaping a career and a future for themselves that will enable them to survive while continuing to explore the strange universe in which they live (p. 199). 2. When seeking to allow your mind to make new connections in a beautiful setting, just sitting and watching is fine, but taking a leisurely walk seems to be even better. The shaping of one's personal space is also important. The Greek philosophers settled on the peripatetic method, preferring to discuss ideas walking up and down in the courtyards of the academy. When we participate in this kind of "semiautomatic activity" that uses a certain amount of attention, we allow the rest of it to be free to make connections among ideas, often from different domains, well below the threshold of conscious intentionality. "Devoting full attention to a problem is not the best recipe for having creative thoughts. "(p. 138) 3. Both creativity and innovation on the one hand and conservation and traditionalism on the other are both equally important. "Neither uncritical acceptance nor wholesale dismissal of human creativity will lead us far. " (p. 322) The final section deals with how to enhance personal creativity. Some of these ideas were helpful (e.g. to seek to be surprised and to seek to surprise another person at least once every day, to seek to look at problems from multiple perspectives instead of assuming you see the issue clearly from one perspective, etc.) but others just seem to be taking up space on the page. I'm afraid the phraseology of how to use psychic energy more effectively on page 356 and a few other places lost my interest almost completely.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on November 15, 2010
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pepe
San Leandro, US
★★★★★ 5
interesting analysis of what 'being creative' really means
This easy-to-read absorbing book is based on lengthy interviews with 91 creative individuals ranging from Nobel prize winners to artists to CEOs. Csikszentmihalyi starts by debunking the myth of 'the lone genius having a brilliant idea as if by magic' and defines three necessary ingredients for creativity ('with a capital "C"') - domain, field, and individual. Creativity must take place within a recognised domain (such as physics, painting and so forth); be recognised by experts in that domain (the field, although this may not happen in the individual's lifetime, eg, Van Gogh); and of course come from an individual, although he also adds the painstaking work that precedes and insight, the reality that all creativity builds on what has gone before, and the social elements of the creative process. The book also offers supporting evidence from the lives of the 91 interviewed, which also provides interesting insights into their lives. In many ways, this book is a biography of the creative individual. Also contains a chapter with quite practical guidance on how to live more creatively. Prescient advice for a book published in 1996 given the increasing profile creativity is getting in business and public life. HIghly recommended, one of the most interesting learning experiences i have had in a long while!
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on February 5, 2013
C
Verified Purchase
Charles H. Hooker Jr.
Lowell, US
★★★★★ 5
Very enlightening for those who truly appreciate creativity more than cleverness!
Format: Paperback
I love how the author almost redefines creativity .and sheds new light (for me, at least!)on what what real-for-true creativity is and how it benefits individuals and society. It's far more than simply brightening up a room with new wallpaper and curtains -- it describes how genuine creativity requires a thorough working knowledge of the fundamentals of any given field before one can truly create something new or better, and it reveals how those of us who aren't capable of creating something ourselves can yet be part of the process by demonstrating appreciation and support for those who create, whether as sponsors, patrons, or even just ardent fans!
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on July 4, 2023
D
Verified Purchase
Donald Walker
New York, US
★★★★★ 3
instructive but limited
The testimonies of creative people that give this book its flesh and blood provide fascinating examples of creative people at work. That said, if a journalist had written the book, it would be more readable, and I don't think any less of an intellectual contribution. Moreover, the definition of creativity is elitist and stunts the topic (as observed by other reviewers): "Creativity is any act, idea, or product that changes an existing domain, or that transforms an existing domain into a new one. And the definition of a creative person is: someone whose thoughts or actions change a domain, or establish a new domain. It is important to remember, however, that a domain cannot be changed without the explicit or implicit consent of a field responsible for it." Given the people interviewed, much more needs to be said about the function of social institutions in promoting creativity. Many of the accomplishments lauded in this book would never have happened without grant-making agencies (e.g., NSF, NIH, HHMI) or non-profit employers like research universities and hospitals. To offer just one obvious example of the difference made by one's institutional context, the author had advanced students to help him do his research for this book. The elitism of the definition is even clearer in the role that marketplace plays as a judge of creativity. None of us buys books from amazon.com because some official group validated amazon.com as a good idea. We didn't wait for computer programers to affirm and certify it. Amazon.com is not deemed successful because it impressed its peers. It is successful because millions of us purchase goods through it. Similarly, auto-executives did not make the minivan a successful idea, millions of shoppers did. (Obviously I don't think the marketplace fits into the author's definition of creativity. If 300 million American consumers comprise a domain with 300 million judges, then the word no longer has any useful meaning.) The definition also precludes that countless ephemeral acts of creativity that take place daily. I think instantly of two women I have worked with who were great at holidays. Their clever costumes or decorations brightened my day, adding a little element of surprise and delight. Their acts of creativity don't meet the definitions of this book. The way that creativity is defined in this book is simply a filtering mechanism by which the author selected the people he would interview. It is not a definition of creativity. It is only a description of a subsection of creativity, the kind where institutions provide paychecks to highly practiced individuals to work hard at what they love. I also found little new to take away and apply to my own social existence inside the organization where I work. Perhaps I can summarize my dissatisfaction by observing that the subtitle sets out an agenda for the psychology of creativity, but the definitional filter is intrinsically social. This disconnection sets the book up to fail. So, count this as a negative review, yes, but I did enjoy reading the testimonies of the people interviewed, and the author adds some value in the generalizations he draws. Still, much, much more could have been said.
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Reviewed in the United States on April 30, 2012
J
Verified Purchase
Judith R. Hert
Alexandria, US
★★★★★ 5
Wise and Complete
Format: Paperback
I've read a lot of books, too many, on creativity, and this is by far the best, the most complete, the most interesting. The idea that creativity comes out of immersion in a domain or field seems absolutely right and the idea missed by so many other writers. I'm a writer and a painter and I've learned that I'm not going to be any better than the work I've come to know and love, that I have to live in that work. If you want to be a better string player, play with a better ensemble. In many ways a creative person is someone who is in a conversation with what has come before, with work that excites her, teaches her, challenges her. This book makes that plain. But he has other insights as well, especially about the creative personality, the interesting dichotomies. Just read the book.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on February 22, 2015

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