Something about Bond, hits just the right note with me; could be the fast cars (I love speed AND expensive sports cars), the lavish & exotic settings (I love travelling), or perhaps the man himself (2 words: Daniel Craig), but I swear I yelped when I first heard about this collection. That was before I saw the shades; then … I screamed. The very nature of this movie franchise lends itself to over-the-top and totally luscious hues … and as far as I’m concerned, OPI so totally “nailed” it. Cue the opening theme …

 

The second half of the ‘Skyfall Collection’ (part 1 here) focuses on the deeper and for the most part, sparklier tones. There seems to be a lot going on with this group, from metallic, shimmer, fine glitter, and even some subtle duo chrome flashes at times – with a couple of the shades almost defying description in their complexity. All swatches are with base and top coats.

 

Moonraker (1979, Roger Moore) – blue tinged metallic silver. The texture of the formula was a bit odd; somewhat thickly flowing with a slight lumpiness (if it was deliberate, then it’s very “lunar” – how appropriate!), you need a steady hand to apply this as it is rather prone to visible brush strokes. The colour itself is really beautiful, looking rather like burnished steel, with 2 coats yielding perfect opacity and note that while it is quick-drying, it winds down with a semi-glossy finish – don’t skip the top coat. Coats applied: 3

in sunlight

shaded light

 

Tomorrow Never Dies (1997, Pierce Brosnan) – stunning densely pigmented deep indigo, with plum undertones and ultra-fine specks of blue and pink pulverized glitter for dimension. Almost able to pass off as a 1-coater, this medium thick formula applies effortlessly and in a self-levelling way, with no visible brush strokes and leaving behind a wonderfully glossy shine. Totally enhanced by a layer of top coat and absolutely non-staining upon removal. Coats applied: 2
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in sunlight

shaded light

 

The World Is Not Enough (1999, Pierce Brosnan) – multi-tonal shimmery taupe, filled with pink, green, and coppery flecks of ground glitter. The glimmery metallic finish is very unique and seems to hold several layers, although the formula itself is rather on the sheer side. Excellent for layering over a deeper shade for added depth, there’s almost a silvery sheen to its semi-prismatic micro flecks and while the bottle shows an eerie greenish duo chrome in some lights, this is definitely more of a warmer-leaning colour. Bonus: very easy removal. Coats applied: 3

in sunlight

shaded light

 

On Her Majesty’s Secret Service (1969, George Lazenby) – LOVE THIS. A totally complex pewter hue built on a charcoal base, filled with gold, silver, green, pink, and blue ultra-fine ground glitter. This totally fabulous formula is on the sheer side as well, but reaches a deeper opacity at 2 coats than ‘The World Is Not Enough’. Some lights reveal a rather dark holographic effect with a few random oxidized green-looking flashes now & then, but the overall look is that of a shimmery gunmetal colour – on steroids! Coats applied: 3
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in sunlight

shaded light

 

Live and Let Die (1973, Roger Moore) – a deep pine green shade filled with ultra-fine bronze and emerald glitter in a smokey base. This totally amazing formula offers excellent pigmentation, flow and opacity (it can definitely pass as a 1-coater), a self-levelling finish but not an overly glossy shine – top coat brings out every nuance and gives it a stunning “lit-from-within” glow. While this is a non-staining hue, removal is definitely messier overall than the rest of this collection (so worth the effort though). Coats applied:  2

in sunlight

shaded light

 

The Living Daylights (1987, Timothy Dalton) – large hexagonally-shaped glitter in tones of copper, silver, gold, and teal – all in a clear suspension base. While the first coat yields a fair amount of the glitter pieces, I found that using a dabbing motion is more effective in dispersing them evenly as well as helping to “thicken it up”, but don’t expect this to be opaque. The glitter pieces themselves lay rather flat, feeling smooth to the touch with a singe layer of top coat, with removal needing some elbow grease – as with most glitter lacquers. Coats applied: 3

in sunlight

shaded light

The following swatches are of 1 coat of ‘The Living Daylights’ layered over a few beauties from the ‘Skyfall Collection’:

The Living Daylights & Moonraker – in sunlight

shaded light

The Living Daylights & The World Is Not Enough – in sunlight

shaded light

The Living Daylights & On Her Majesty’s Secret service – in sunlight

shaded light

The Living Daylights & Live and Let Die – in sunlight

shaded light

The following ‘Skyfall’ trailer is classic, gritty, sexy Bond – enjoy!

(source)

 

Final thoughts: Overall, I love every single shade of this collection, although some obviously stand out more than others. The 2 complex shimmery shades of this group, ‘The World Is Not Enough’ and ‘On Her Majesty’s Secret Service’ are TO DIE FOR, although the intense blue of ‘Tomorrow Never Dies’ is totally eye-catching as well. Glitter is not my thing, but the choice of colours in ‘The Living Daylights’ as well as the larger size of the pieces, makes this an interesting addition here and I found it quite useful in camouflaging any imperfections when layered over ‘Moonraker’.

Stay tuned for my upcoming review on ‘The Man With The Golden Gun’ – OPI’s new 18k top coat, and next week I’ll be showing some other goodies being released with collection. Until then, the entire ‘Skyfall Collection’ is set to launch early October — you don’t want to miss these!
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*Disclaimer: Product samples provided by the company/PR for my unbiased consideration