Big things, little packages: A quick review of the Huda Beauty Obsessions palettes

If I were to try to describe most of the beloved palettes in my collection, it would be hard to find a unifying trait. The closest you would get would be to tackle size, because apparently I tend to like my palettes big. From sensibly generous Anastasia palettes to downright unwieldy Kat Von D holiday palettes, I just tend to yearn for more than a more restrained quad or travel palette can give me. I want to be able to let my laziness fly free, pull colours from the same place, and to be inspired by a colour scheme that I am given. I want something that oftentimes a little baby palette can’t offer me.

Nothing had ever really given me reason to dip my toes into the well of Huda Beauty. I had no sentimental connection to Huda Kattan herself, having never really come across her content on any social media platform, and had never been one for false eyelashes. I’d managed to refrain from having my interest piqued by her liquid lipsticks, and the highlighter kits all seemed fairly run of the mill. I’ll admit to being intrigued by the new foundation, although hand swatch showed up the kind of scent that makes me shiver at the memory. When I heard that palettes were launching, I was thoroughly unmoved – that is, until the photos came.

If you’ve ever read this blog before, you’ll know which of these colour schemes sung out to me instantaneously. It sung so loudly that we’re talking track-down-a-palette-on-launch-day. My thirst for true to pan yellow and hot pink eyeshadows is deeper than any known trench, and it was love at first sight with the Electric Obsessions palette.

I picked up the Electric Obsessions palette within the first week of its launch at Sephora Australia, right as my hair was transitioning to purple, unshaken by its $48 price tag. I did apply a 10% coupon with some of my many, many stockpiled points, but I mostly ignored the little voice in my head that was saying “$48? For a palette the size of your palm?” (That may not sound small, but it helps to know that my hands are famously small, and that I would say they are the size of the hands of an average ten year old) I was treating myself to get through retail Christmas, and if it was a good palette, it would be worth it.

It would have sucked if this had been a bad palette. Instead, there are nine vivid brights squeezed into the size of a typical quad with no wasted space, and each pan holds a decent amount of product. Some shades are shimmers, others are matte, and all of them pair logically with at least one other partner shade in the palette. It is not a conventional standalone palette, but just this and a matte mid-tone brown single is a cohesive look; if I’m feeling up to it, I don’t even bother with other shades to mute the palette. All of the colours apply smoothly and with great reflection of what they look like in the pan, even that striking yellow. There’s even a good sized mirror and a magnetic closure.

As you can see, I now own two of these little palettes. I picked up the Smokey Obsessions palette several weeks later. I was torn between it and the Warm palette, which felt very versatile within itself, but I felt like travelling with just Electric and Smokey would allow me to do most of the eyeshadow combinations I ever dream of. Basically, I’ve come to view these palettes as the perfect travel palettes. They aren’t as soft as something like an Anastasia palette, so I don’t have to worry as much about their transport, but they allow for a great amount of versatility within a very small amount of space. Between these two palettes, I have the very me brights and the purples to complement my hair along with the neutrals for everyday and metallics to transition to evening. If I don’t have to travel with the bulk of my Kat Von D Shade and Light palette, I sure as hell won’t. The quality is consistent, and I wouldn’t be surprised to see another eventually end up in my collection (perhaps as something else transitions out).

I’m not about to go out and pick up the full sized Huda Beauty palettes, which don’t appeal to me at all, but I do think these are a smashing success. I wish that the beauty industry would start to adopt this trend away from conspicuousness and absurdity and garishness – I feel like these next few seasons will see a muting in the holographics and the unicorns and the things designed to be flashed. I can handle the signalling implied with a practical 3×3 palette in matte black; I know what it’s saying about me and my attitudes and my place. I’m not as comfortable with what is being signalled by brands with over the top packaging whose emphasis is on the fetishisaton of cuteness and whimsy and childishness or sexiness. I want to know where I stand.

After the Backlash: Yet another Anastasia Beverly Hills Subculture palette review

I attached a photo to the top of this review, but let’s be honest: by now, you know what the ABH Subculture palette looks like. I’ve never owned a palette like it. The colours are autumnal and eclectic and moody, and as soon as swatches were released I felt an uncontrollable pull to it. A pastel neon (?) peach and a mustard yellow with an army green? I know a lot of people have spoken of it as lacking in cohesiveness, but it’s one of the palettes I look at and feel inspired.

If you’re reading a review of the Subculture palette at this point after release, you’ve presumably encountered the cycle of hype and backlash. In 2016, everyone had fallen deeply in love with Anastasia’s Modern Renaissance palette, including my belated love affair earlier this year. It was near perfect as a warm toned palette, unafraid of red and pink shades, and excelled at both mattes and shimmers. A good palette to that captured the zeitgeist. They had a good line of solid hits. Brow products relied on by experts and amateurs, interesting highlights, successful limited edition eyeshadow palettes…people were primed to love their products. Then came Subculture, teased for months, leaked pre-release…and the backlash was deafening. And the backlash to that backlash was even worse. And where did we land on this palette? Well, I think it’s been decided that personal opinions are not unanimous. Let’s talk about mine.

No matter how much you love a brand or their products, they are not a person. We do not need to defend their actions; we do not need to rationalise for them. When a product is critically panned but you still enjoy it, it doesn’t mean their experience is less valid. So I ended up really loving this palette, and I have no issues with the shadows being overly powdery or kicking back an excessive amount of powder. I can still acknowledge the ways in which this palette is imperfect! Certain shades don’t show up true to pan (most notoriously Edge, which does not satisfy my yearning for a mustard colour) and others need specific kinds of brush (Cube needs to be applied with a finger, lest you lose the pink iridescence completely). My pan of Roxy has a little bit of kickback, and I can understand how certain batches might be prone to kicking up even more.

Subculture is absolutely not the easiest palette in the world to use. Modern Renaissance had its drawbacks with over-pigmentation and fallout, but the colours blended well and applied with ease. Subculture sits in a different realm. And yet, of all of my many, many palettes, it is one of the few that I pick up and look at and feel interested in. I can start with a colour and move to something else and never feel uninspired, because the mix balances quirk and utility. It is not a “for everyone” palette, but it is a great one for me.

In fact, even for the subtle everyday looks, I’ve found the colours in Subculture to work nicely with my new purple hair. I like working odd shades in subtle ways, and it’s satisfying to me that this is a palette suitable for that or for high level drama.

Here’s a close up of that specific look, an example of something I’ll throw together in a few minutes with Subculture. I think that’s important to contrast with the instagram theatrics this palette lends itself towards.

Want to try mustard with khaki and lavender? Go for it. Peach and berry and lime? Sounds like a smoothie, but delightful on the eyes.

Because of my surprisingly positive experience, it won’t surprise anyone how tempted I’ve found myself by the more recent Prism palette. There’s been a lot of controversy over the similarities between the two palettes and their shade ranges. Here’s just one of the many, many posts comparing the two, with the general consensus being that only one is really necessary to achieve the same kind of looks. Certain shades in Prism appeal to me more – the dark metallic green, the metallic lavender, that neon yellow green – but the overall aesthetic feels more alienating to me personally than the recognizably grunge vibe of Subculture. I do wish that the definitive shades performed better (specifically Edge and Cube), and I might cave and buy Prism at some point with a voucher, but I’m one of the few people without buyer’s remorse.

All that said, I’m always trying to be conscious of my blatant consumerism and need to acquire more more more. For me, being “better” would still be a troubling quantity of makeup for most people. This is me calling myself out – this time, my purchase of a known trouble inducing palette worked out for the better, but my purchase didn’t hinge on that factor and returns are not an option here. Think your things through.