a-england – The ‘Gothic Beauties’ Collection (swatches & review)

In the short time since a-england, a boutique nail lacquer brand was launched, it has achieved cult status – for all the right reasons. The formulas are absolutely superb, the colours diverse and almost surrealistically beautiful, the concepts behind each collection are cohesive and unique, but the icing on the cake is the founder & creative mind behind the brand: Adina Bodana, a woman with vision and heart, who makes one feel as though each bottle of varnish is sent with love. And it is, trust me on that. With ‘The Mythicals’ (all previously reviewed here, here, here, here & here) and ‘The Legend’ (previously reviewed here) collections having been met with such rave reviews, what could possibly top that? The ‘Gothic Beauties’ Collection … that’s what.

the menacingly sly beauty of a gothically-inspired landscape

Presenting a-england’s latest release, the ‘Gothic Beauties’ collection – a group of 5 subtly shimmering colours, with the brand’s ultra black shade ‘Camelot’ forming the backbone behind each hue. Each richly glowing shade is based on a character from well-known gothic literature and the theme that ties them all together is one that is at once tragic and romantically dreamy, but the underlying currents of intense passion present in each, is what truly binds them and makes them come alive. These 5 glorious lacquers simmer with hidden desires, needing only the right set of circumstances to bring them out … or in this case, the right lighting. All swatches are with a-england’s ‘The Knight’ Base Coat and ‘The Shield’ Top Coat.

Dorian Gray Series 2008 – Elena Zolotnitsky (source)

Dorian Gray – in natural light

Based on the title of character of Oscar Wilde’s “The Picture of Dorian Gray”, a man who falls prey to a completely hedonistic way of life, transferring all of his inner ugliness to his portrait, all the while presenting the world with a facade of surpassing beauty. He is ultimately saved by his realization that only his death can somehow atone for all of his sins.

‘Dorian Gray’ is a complex gunmetal/pewter hue, infused with ultra-fine deep gold shimmer that also bears some particles of green and pink scattered throughout, lending this shade a sinister beauty. The formula, while the thickest of the 5, applied in a buttery and completely self-levelling way, and the saturation of colour is such that you barely need more than 1 coat for complete opacity. With a unique blueish tinge when seen in subdued light, the final look gleams intently, although top coat really enhances all of its nuances. Coats applied: 2

in sunlight

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shaded light

with flash

Young Christian Martyr (Ophelia) – Paul Delaroche, 1855 (source)

Ophelia – in natural light

Based on the doomed character in Shakespeare’s play, “Hamlet”, young Ophelia is destined to be the future king of Denmark’s wife, but is sent conflicting messages by Hamlet himself, whom she comes to be besotted with. Upon the death of her father, she spirals deeper into madness, finally killing herself by drowning, after having taken the herb rue – a well known symbol of regret.
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‘Ophelia’ is filled with the same inner struggles and complexities as its namesake character; an incredibly easy-flowing formula, the blackened base serves as the perfect backdrop for the multitude of crushed amethyst ultra fine shimmer at its core. Application of a thicker layer can definitely make this a 1-coater if so desired, although the purple gleam really develops beautifully by the second coat. Completely self-levelling and finishing with an excellent gloss, there was no staining left behind upon removal. Coats applied: 2

in sunlight

macro

shaded light

with flash

Disappointed Love – Francis Danby 1821 (source)

Tess d’Urbervilles – in natural light

Based on the character Tess Durbeyfield in Thomas Hardy’s much acclaimed novel “Tess d’Urbervilles: A Pure Woman Faithfully Presented” (1891), a story about a woman of the rurals, whose life is torn apart by the conventions of Victorian society when she inadvertently becomes the carnal focus of Alec d’Urberville – a man of self-imposed nobility and despicable morals. Even though Tess herself is of pure heart, her beauty makes her a target and she is doomed to live in a time where womanly ideals are rigidly adhered to, thus making it impossible for her to ever find inner peace. Though she becomes imprisoned and ultimately executed for murdering Alec, she meets her sad fate finally rid of that man’s insiduous hold over her … finding peace at least in death.
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‘Tess d’Urbervilles’ is a mesmerizing blackened hue filled with ultra-fine irregularly shaped & shimmering emerald flecks deep within, truly evocative of the lush & verdant landscape that Thomas Hardy’s novel is based in. While the formula here follows that of the rest and applies slightly thickly, it is of such creamy consistency that it makes the flow superb. Not as glossy as ‘Ophelia’, this gem becomes blindingly brilliant by the addition of top coat. No staining upon removal – always a bonus. Coats applied: 2

in sunlight

macro

shaded light

with flash

The Lady of Shalott – John William Waterhouse 1888 (source)

Lady of Shalott – in natural light

Based on the poem by Alfred, Lord Tennyson (1809 – 1892), this is loosely based on the Arthurian tales and in particular, that of Elaine who so deeply loved Sir Lancelot. The 19 stanzas (originally 20), tell the story of a woman, the Lady of Shalott, who is doomed to stay locked up in her tower and may never look fully upon Camelot, lest a mysterious curse takes her. Forced then to view the world only through her mirror, she thus displays what she sees through her weavings, but one day when Lancelot chances to ride by, she cannot help but be overcome by his beauty and presence, and upon looking at him, she brings about the curse. Knowing that there is no hope and wanting to avoid inflicting any evil on anyone else, she comes out of her tower and takes a boat downriver towards Camelot, but tragically dies along the way – only to be found by Lancelot who is awed by her serene and graceful beauty as seen in death.

‘Lady of Shalott’ bears the same blackened based as the others of the series, with the ultra-fine blue and scant pink inner particles lending this shade an inky overall tone. Viewed in sunlight, its inner sapphire flashes are a striking presence – referencing the blue tinge of the mirror that the Lady of Shalott is forced to see by, as well as the cloudless day when she first espies Lancelot. With a perfectly self-levelling and silky flowing formula, the final result is one that literally yields celestial beauty. Coats applied: 2
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in sunlight

macro

shaded light

with flash

Jane Eyre (source)

Jane Eyre – in natural light

Based on Charlotte Brontë’s novel “Jane Eyre” and its central character of the same name, this is a tale of submerged passions, cruelty, deceit and finally, love. Jane, orphaned at a young age, comes to live with her abusive relatives but is finally rid of them years later upon entering a charitable boarding school. Upon graduation, she finds employment as a governess to a ward of Edward Rochester, the “byronic” master of the manor Thornfield Hall, and gradually they come to feel a deep love for one another. While Jane accepts Mr. Rochester’s marriage proposal, circumstances continually conspire against them, and when she learns he is still married to his former wife, she runs away rather than live in sin with him in the south of France, as he proposed they do. Eventually, she learns that his estranged and mad wife set fire to the manor, committing suicide by jumping to her death and leaving Mr. Rochester maimed and blinded by this disaster. Jane returns to him, finally able to indulge in their love for one another despite everything, and she finds freedom in her passions at last.

‘Jane Eyre’ is a brooding, deeply mysterious shade, filled with ribbons of ultra-fine scarlet shimmer that resemble the burning embers of a banked fire. Perfectly suited to the character for which it is named, as the colour red figures prominently throughout the story, this bears the same incredible formula as the rest, with application laying down utterly smooth, and while not truly glossy, there is nonetheless a wonderful gleam at the finish with zero staining upon removal. Coats applied: 2

in sunlight

macro

shaded light

with flash

A little something extra: while working on this review, I drew inspiration by listening to the haunting tones of Loreena McKennitt, a brilliant Canadian artist (and one of my all-time favourites, I might add), in particular her rendition of “The Lady of Shalott” which she set to an original score. Enjoy …

Final thoughts: If you have yet to try an a-england lacquer, you are missing out on a truly unique experience – once that combines beauty, form, function and history. Finding inspiration in her love of art and literature, Adina has managed to once again provide us with shades that make an impression; no wildly eccentric colours or exotic finishes here, but five deeply saturated varnishes that provide a subtle beauty, elegance, sophistication, and a dangerous modern edge – further proof that the adage “less is more” was never more accurate. I don’t have a favourite amongst these jewels, as each one displays something different and covers all moods, which therefore means that I absolutely LOVE them equally; I will say that you need to look at these with a connoisseur’s eye in order to completely appreciate all of their intricate complexities, but in the end, the stellar formula of each shade speaks for itself.

EDIT: For those that can’t get enough of this amazing brand (which is probably everyone), please note that Adina also has another couple of shades – separate from this collection – in the planning stages that she is presently working on. I will be providing updates as they get closer to launch.

The ‘Gothic Beauties’ Collection is slated for an early September release, but feel free to follow a-england on facebook/twitter for all the latest updates, and do check out the brand’s website for information on the entire product range.