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内容简介
被白衣飘飘禁锢多年的妆容套路，总算在2024年打破了桎梏。看了一众古偶的路透，我不禁发现2024年的古偶似乎更喜欢唐朝为背景的年代。 《国色芳华》的何惟芳（杨紫饰）偏梳髻盘发搭配金银发饰，雍容华贵又清丽脱俗，通过培育稀世牡丹的技能涉足商海，从体弱商贾之女变身百花匠人； 《子夜归》的猫公武桢（田曦薇饰）齐胸襦裙搭配额中花钿，头顶双环发髻就像猫耳朵一样，正如书中描写白天还是活泼可爱的高门贵女，晚上就是统领全族的猫妖； 《蜀锦人家》的季英英（谭松韵饰），绯红、明黄、青绿的古风长裙，搭配高盘发和点缀发饰，素雅大气里透露着韵味，自幼醉心染丝的她，通过自己的技法在蜀地一战成名； 只是都标明的唐代的背景，唯独只有杨紫有了唐代美人的感觉。 网友爆出的《国色芳华》杨紫的最新路透，一袭绿色长裙，齐胸襦裙跟着杨紫的步伐随风而动。虽然只是一张图，但是配合出杨紫表演出来的着急的表情，飞扬的裙摆仿佛力透纸背和人物角色共情。 但惊艳我的不只是杨紫随便被拍摄到的一张路透，而是在于杨紫本身和唐妆的搭配。 之前影视剧都流行极简风，简单的一个发髻随便点缀几个叫不出名字的廉价饰品，号称几个亿打造的作品，却从演员身上看到了寒酸。 去年影视剧的风格倒是有所改变，如去年孟子义主演的《花柳琉璃轶闻》上线几集就出现了十套造型，妆容和发髻都有考究，配色还是中式古典偏爱的正红、墨绿、金黄，头上的发饰第一次让我体会到拔下一根簪子赏人的富贵。 只可惜，孟子义瘦削的下巴实在是撑不起泼天的富贵，发髻上别着的一朵大红花似乎就能把人压得脖子前倾，两边的刘海更让我感受不到美人的大气。 李一桐《云秀行》也选择了复杂繁琐的发髻，只是和杨超越《七时吉祥》一样，我不知道这个妆发想要表达的意思是什么，既没有中式的对称审美，也缺乏了一个时代的考究。好像是一个暴发户，要把所有的金银玉器堆砌在头上，属于贵妃这个角色的雍容华贵我是没有感觉到，违章建筑倒是看见了。 所以当得知杨紫的新剧是以唐代为背景，我是有点担心的。唐妆是很考验女演员的美人感的，过于瘦削的脸盘子是不可能撑得起唐妆的绝代芳华，但是杨紫的路透出乎我的意料。 有下颌骨、面部肌肉线条走向流畅、丰满的两腮，都让唐妆下的杨紫有种珠圆玉润的感觉，不完全是堆砌的金银，反而根据唐妆有了发饰上的留白。 其次剧组也是会唐妆进行仔细的考究，杨紫上一次放出的唐代妆造也是让喜欢考古的人眼前一亮。发髻不仅在唐代大量的古画人俑存在，旁边的一坨头发参考了“抱面”，发饰如梳篦是古代八大发饰之一。 所以说，就冲着杨紫妆容与脸盘子和唐代背景的遥相呼应，既是有了泼天覆盖，又不会是违章建筑，我就知道杨紫的《国色芳华》肯定能拔得头筹。
