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FATIMA FARIAS

@fatimafariasa

4 days ago
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Posted On: October 30th 2026, 05:12 pm
No todas las apariciones vienen del cielo 🕯️ 👹.

#lamonja #maquilladoraenlamolina #halloweenmakeup #sfxmakeup #makeupartist
Comments (10)
fatimafariasa 3 days ago

fatimafariasa

🙌🙌🙌 Thank U

ch19sam 3 days ago

ch19sam

Este si me dio miedo 😢

alegrerobertohernandez 3 days ago

alegrerobertohernandez

Medio miedito pero ame el disfraz mi fati hermosa

pppescobedo 4 days ago

pppescobedo

😮😮😮

marielaverde7977 4 days ago

marielaverde7977

😮😮😮😮

jenn_ao30 4 days ago

jenn_ao30

👏🏽👏🏽👏🏽👏🏽👏🏽

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⁨ موسسه کپلر در اوایل تابستان امسال، حجم نفت خام شناور ایران در خارج از محدوده محاصره دریایی را نزدیک به ۸۹ میلیون بشکه برآورد کرده بود. این ذخایر با آغاز پاییز به حدود ۱۵ میلیون بشکه کاهش یافت و حالا، بر اساس تازه‌ترین ارزیابی کپلر، موجودی نفت خام ایران در این محدوده به صفر رسیده است.⁩
@szilvesztermako has had a big year. He has photographed major celebrities from Elle Fanning to John Galliano to Rihanna, been featured on cover after cover, held a showcase in New York, and developed a distinct visual language that has made audiences declare that fashion editorial is back. But we live in a time where the attention economy moves faster than artistic processes. Online users and some publications have noted how Makó’s plethora of cover shoots this year—there are no less than a dozen—has rendered outlets like Vogue, Elle, and Wall Street Journal homogenous. In the same calendar year as Makó’s meteoric rise to prominence, some who so recently showered Makó’s work with praise and adoration have begun to express boredom with his aesthetic. Across social media platforms, fans, critics, and commentators began to weigh in. “Not the fucking sad, dim box again,” one commenter said. “At this point he might as well just be Photoshopping heads onto the same outfits,” said another. It’s worth noting that Makó reportedly eschews digital processing, AI, and CGI when creating his images. But furthermore, is the concept really the “same” across Makó’s shoots? Or are we confusing the artist’s unique authorship with our own appetite for fresh new content, delivered at faster speeds than any artist can (or should) have to produce? And in this media climate, is it possible for beloved, standout image creators to build longstanding, legacy careers? Or does the audience gobble them up too fast? The best person to speak on this is the artist himself. We spoke to Makó about his year, the work he has done, and the peaks and valleys of finding mass acclaim in a world full of armchair critics. Swipe through to read what Szilveszter Makó has to say.
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