ARABIC MAKEUP PICTURES

Left: London A/W 2007 Trend.

THE PRO TIP OFFS
For colour-washed lids with maximum transparency, do as Petros Petrohillios at Gharani Strok and trade eye shadow for a powder blush – "they're softer and less pigmented," he explained. M·A·C White Face and Body Foundation "doesn't so much make skin pale as brighten it – the effect is a complexion that's translucent and luminous rather than ghostly," explained Makky backstage at Peter Jensen.

TREND ONE: ADORN-ABLE
M·A·C artists were into striking a playful makeup chord in London Fashion Week. Take lip colours: after the grey-eyed glamour that dominated New York catwalks, London's loud mouths were equally punchy, powerful and precisely applied. There was opaque marshmallow (M·A·C Lipstick in Snob) at Roksanda Ilincic and Todd Lynn, day-glo pink at House of Holland, electric tangerine at Peter Jensen, dazzling coral at Danielle Scutt and magenta at Hamish Morrow. And colour didn't stop at the lips. At Jonathan Saunders, Miranda Joyce thought "primary, artistic, finger-painted, shocking!" with eyebrows fuzzed over with hot pink or yellow, at Gharani Strok, Petros Petrohillios was in an Eighties mood with matte lavender-washed lids and peachy contoured cheeks and at Roksanda Ilincic, Val Garland was into "taking a ladylike idea and having fun with it" as she combined minty eye shadow and black dots "to make a youthful, clubby moment in eye liner".

TREND TWO: BOLD AND BARE
A degree of toughness and nonchalance is intrinsic to London's beauty ethos both on, and off, the catwalk. Hence there is always a certain "bare faced" following to London Fashion week, with designers eschewing too much makeup in a bid to "keep it real" in the most literal sense. Fall 07 proves no exception, but these pale, pared-back faces weren't devoid of makeup. While skin was as bare as possible (moisturizer with Select Cover-Up was the preferred combination), there was serious work put into this minimalism. At Nicole Farhi, Val Garland used no less than five different eye and lip pencils to dapple faces in freckles before patting Vintage Rose Cream Colour Base onto cheeks with a fan brush. M·A·C's collection of contouring and shading powders were key at Preen (for the shadowy eyes) and Sinha Stanic (where Nude gave the cheek "a slight bloom," said Sharon Dowsett), making face-shaping come to form. And while Marios Schwab couldn't have looked less worked, the mahogany slashed brow at Giles was grippingly precise, showcasing how a strident makeup gesture works best on a creamy canvas.
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Right: Milan A/W 2007 Trend.
THE PRO TIP OFFS
An element of “Done it myself” (in the back of a cab) imprecision is essential to the charm of the new unconventional eye liners. Arm yourself with a black liner and think Amy Winehouse (ŕ la Sportmax). Get dense colour along the lashline with new Liquidlast liner. At John Richmond, Sharon Dowsett explained that “it really anchors the line along the lashes – with creamy textures on the eye, traditional liner can get a bit mobile.”

TREND ONE
FUTURE CLASSICS
Dark eyes and ebony liner are Italian makeup stalwarts. But instead of revisiting those well-trodden Dolce Vita references of old, this season M·A·C artists were looking to the future with a sci-fi feeling leading the way with eye liners. At Alessandro dell’Acqua Charlotte Tilbury wanted girls “to look like they’ve fallen off the moon: sexual, graphic a little futuristic to reflect the space-agey sexy feel of the collection” with an obscure oblong of liner. Nonconformist, too, was her Amy Winehouse-inspired “devil horn” eye liner shape for Sportmax, while at Anna Molinari and Just Cavalli liner was simple, strident and super graphic. And for Iceberg, Karim Rahman wanted “glamorous punk” sharp liner, a feeling echoed at Jenny Packham with the punky hot-pink eye shadow and black liner and at John Richmond where eyes blocked in purple-black struck an ever hard rift. Not what you’d see on Loren, but equally striking (and no less beautiful), the future of liner looks graphic.

TREND TWO
HALO EFFECTS
Space-age was also the tendency with skin in Milan, with “dimensional” consistently topping the makeup agenda. Especially at Alberta Ferretti, where M·A·C artist Romeo Jennings explained that it was “all about alien-like skin, dewy and matte at the same time so that it looks artificially beautiful,” using Strobe Liquid (a new formula of M·A·C’s cult Strobe Cream to be released in 2008, which gives ultra light-reflective pearl) across the T Zone and lips to infuse skin with a frosted lustre. This halo-dimension feeling was taken to newly technical dimensions at Bottega Veneta, where Charlotte Tilbury framed the entire face and its high planes with Strobe Liquid to give a light-bathed effect, before building-up 3-D cheeks with three different cream pink blushes and emplo

Sinnots Cross Ambush
During the War of Independence, the 9th Battalion of the Kilkenny Brigade IRA consisted of farmers and labourers, mostly in their mid twenties, and few of whom had any military experience. Indeed, before the ambush at Sinnott’s Cross, in June 1921, possibly the only two rebels with any experience of warfare, guerrilla or otherwise, were James ‘The Solider’ Walsh (a signal officer) and Phil Henebery, both of whom had fought with the British army during the Great War.
The Battalion Quartermaster, Ted Moore (Rathcurby) would often recall that, if it hadn’t been for Henebery’s military experience during the ambush, all would have been lost for the rebels. As we shall see later, both of these men (Moore and Henebery) played a particular role in the ambush, although we cannot say with any certainty just what it was that Henebery did, to deserve the accolade.
Although ‘Big’ Pat Walsh (Clogga) was generally regarded as being the O/C of the Battalion, and although many later thought that either himself or Dick Brennan (Knockanure) was in charge at Sinnott’s Cross, it would seem that it was actually Ned ‘na Coille’ Walsh (Portnascully) who led the men on that day. Our information comes from an interview with Martin Murphy (Grange), done some time in the 1960’s, when he said “The man in charge was Ned ‘na Coille’ Walsh although some others thought later that Dick Brennan was in charge. Ted Moore was Quartermaster”.
Build-up to the Ambush
The seeds of the ambush were sown some six months earlier, when the Dublin High Command made efforts to increase republican activity all over the country. They were concerned at the pressure that was being put on Cork and Tipperary and wanted to force the British to spread their resources. This resulted in a visit to Mooncoin by the legendary Ned Alyward of Callan. Aylward was a veteran of the Hugginstown and Nile-Mile-House ambushes and had taken part in the dramatic escape from Garryricken House a month earlier.
In April, and following the Moonarch Wood ambush, Aylward travelled south where he encouraged the 9th Battalion to ambush a cycle patrol of Royal Irish Constabulary and Black & Tans. At the time, there were two patrols in the area. The first came from Lower Kilmacow, passed through Upper Kilmacow and continued on to Clogga Creamery. Here, they would meet a similar patrol, which came from Fiddown, through Cloncunny and Sinnott’s Cross. The two patrols would stop and talk to each other for a while, swapping stories and sharing cigarettes, then return to their respective barracks in Kilmacow and Fiddown. It was the ‘Kilmacow’ patrol, which Aylward suggested they ambush and he inspected a site between Upper and Lower Kilmacow.
Several of the local IRA refused to carry out this ambush however, on the basis that they needed more time to prepare. Aylward promised that they could keep any arms that they captured, but Ted Moore and Jack ‘na Coille’ Walsh in particular, were adamant in their refusal. Aylward left the area shortly after and returned to the fight in West Kilkenny. He would not have to wait long for the Mooncoin men to act however and they must have begun their preparation shortly after.
The local IRA certainly needed time to prepare. They had little or no ammunition and only a few shotguns to take on the heavily armed Crown forces. To make matters worse, they would have had only the barest of military training.
As can be imagined, the first priority was to secure ammunition. They made buckshot cartridges by mixing powder from rifle bullets and cut up nails and steel. In order to hide the ammunition, Jack Larressy (of Larressy’s Shop in Clogga) constructed a timber box within which the ammunition was placed and subsequently hidden in the bogs in Clogga. In later years, Jack would recall that the timber he had used was from his shop, and had the words ‘Laressy’s Shop’ printed on it. If the British ever found the box, they wouldn’t have had far to look to know who had made it.
A further problem was to ensure that the British troops would actually arrive, as the rebels did not want to wait for several hours in a ditch, before realising that there would be no one to ambush. As has been said earlier, there were two established patrols in the area. However, the British would frequently alter their routine, sometimes not coming at all. As Jack ‘na Coille’ recalled some forty years later ‘the military and RIC were stationed in Fiddown and in Kilmacow. A patrol passed occasionally from Piltown to Clogga. That was their route. We knew the times they passed. Sometimes it would be at 6 or 7 a.m. but it was always before dinnertime or earlier’. As things turned out, the British did not arrive ‘before dinnertime or earlier’ and the men had to wait until approximately 3 o’clock that day.
Whatever about the time, it was vital to ensure that they did actually arrive. In order to ‘draw out’ the patrols, the IRA caused various disturbances in the area. This w