Waffle Day: How to make Red Velvet Waffles

For some reason, waffles always remind me of vacation. Maybe it’s because I associate them with hotels where you can make your own waffles for breakfast. So when I make them at home, it always feels like a special occasion.

These waffles would be perfect for a holiday or celebration, or any time you want breakfast to feel a little noteworthy. They are amazing topped with Cream Cheese Drizzle (recipe follows), but I also love them with just a drizzle of maple syrup.

Ingredients (Serves 6)

  • 2 cups all-purpose flour
  • 1 teaspoon baking soda
  • 1 teaspoon baking powder
  • 1⁄2 teaspoon table salt
  • 4 tablespoons (1⁄2 stick) unsalted butter, melted
  • 1⁄4 cup packed brown sugar
  • 3 large eggs, separated
  • 2 cups buttermilk
  • 1 1⁄2 tablespoons natural unsweetened cocoa powder
  • 1 tablespoon red liquid food coloring


  1. Preheat the oven to 200° F and preheat a waffle iron. Whisk the flour, baking soda, baking powder, and salt in a large bowl to combine.
  2. Combine the melted butter and brown sugar in a separate large bowl. Whisk in the egg
yolks and buttermilk. Mix the cocoa powder and red food coloring in a small bowl to make a smooth paste, then whisk the paste into the butter mixture. Stir the wet ingredients into the dry ingredients just until moistened (the batter should be slightly lumpy).
  3. Beat the egg whites in a medium bowl with an electric mixer until stiff peaks form. Stir one-quarter of the egg whites into the batter to lighten it. Then fold in the remaining egg whites gently but thoroughly.
  4. Spray a waffle iron with nonstick cooking spray or brush with melted butter. Cook the waffles according to the manufacturer’s instructions. As they’re done, put them on a baking sheet and slide them into the oven to keep them warm while you cook the remaining waffles.

Cream Cheese Drizzle


  • 4 ounces cream cheese, softened
  • ¾ cup confectioners’ sugar
  • ½ teaspoon vanilla extract
  • A pinch of table salt
  • 3 to 4 tablespoons milk


To make the cream cheese drizzle: Beat the cream cheese, confectioners’ sugar, vanilla, and salt in a bowl. Beat in enough milk to make a pourable mixture.

Spiced Almond Cocktail TNP Originals

In a small saucepan, combine spiced rum, amaretto, almond milk, cinnamon sticks, and star anise pods. Heat to a simmer and remove from heat. Let steep for at least 5 minutes. Pour into a glass and garnish with ground cinnamon.

– 1.5 oz. Spiced Rum

– 1 oz. Amaretto

– 4 oz. Almond Milk

– 2 cinnamon sticks

– 2-3 pieces whole Star Anise Pods

– Ground cinnamon, for garnish

In a small saucepan, combine spiced rum, amaretto, almond milk, cinnamon sticks, and star anise pods. Heat to a simmer and remove from heat. Let steep for at least 5 minutes. Pour into a glass and garnish with ground cinnamon.



Eat Breakfast Erin Heatherton’s Eggs & Avocado

Believe it or not, models do actually eat. Some models don’t just eat, they EAT. Erin Heatherton is among that group. She focuses on healthy food that is not only good for her body, but looks great and tastes even better.

When we chatted with model Erin Heatherton, she gave us her go-to breakfast (aka our two favorite items on one plate): Eggs and avocado. Here’s how to make it like she does, because who doesn’t want to eat breakfast like a model?

Eggs and Avocado Toast 

ingr2 organic free-range eggs

2 slices of Free Bread

1 quarter of an avocado

1 slice of lemon

A pinch of salt, pepper, and red chili flakes

Kelapo Extra Virgin Coconut Oil Non-Stick Cooking Spray

Fresh Parsley

Toast the bread. While it’s toasting, fry two eggs using coconut oil spray on medium/low heat. Cover with lid.

While toast is finishing, cut a slice of lemon and a quarter of avocado and place on plate.

Using a fork, mash the avocado onto the toast and squeeze the lemon wedge on top. Alongside (or on top) place the eggs.

Sprinkle eggs and toast with chili flakes, salt, and pepper to your liking. A dash of olive oil on the toast is also delicious.

Garnish with some fresh parsley.


How They Look – One Of Those Things You Probably Never Thought About

Silent film actors from “back in the day” had a very unique look. We of the modern era tend to think it was the film alone, but that’s not true. Believe it or not, makeup played a huge role even back then. And if you’re dying to look like a silent film star (though highly unlikely) here’s how to make it happen.

Tabloid in long-form, Anger details the scandals of Tinseltown’s very first stars (including Rudolph Valentino, Roscoe Arbuckle, and Clara Bow) against the backdrop of a city charged by rampant debauchery and high glamour.

Whereas Hollywood Babylon deals mostly with the era’s nightlife, the workday habits of early film stars were pretty wild too. For our purposes, it’s all about the prep. Hence a little history lesson today, particularly about how one might get ready for a period moving picture.

Early movies were shot on orthochromatic film, which was not sensitive to yellow-red wavelengths (so colors on that end of the spectrum became almost black). Blue and purple tones, in turn, showed up pale and whitish. The unfortunate on-screen effects of this were myriad—actors with ruddy skin looked dirty, and blue eyes would turn blank and spooky. The latter pitfall almost foiled the ambitions of eventual Academy Award winner Norma Shearer when she was told by D.W. Griffith, The Birth of a Nation director, that her eyes were “far too blue” to have any success in cinema.

In order to create an impactful (and hopefully, natural) look under such conditions in the 1910s and ’20s, most actors were tasked with applying their own makeup (A common press photo set-up was very Top Shelf-like and featured the starlet at her vanity.), and studios would distribute guides for proper use of color. Blue-toned greasepaint was applied as a foundation and contouring shade, while lips were painted yellow. In real life, actors must have looked truly bizarre when they arrived at the studio. Early greasepaint was texturally problematic. Since it was applied with a heavy hand, the surface layer would often crack when the actor’s expression changed (not great for a medium that relied so heavily on overly dramatic, silent expression). It could also be hazardous—as was in the case of Dolores Costello (Drew Barrymore’s paternal grandmother), whose complexion and career were both damaged beyond repair by early film makeup. In 1914, Max Factor, a wig and cosmetic shop owner in Los Angeles, developed a solution in the form of Flexible Greasepaint. After its invention, he became the most sought-after makeup artist in Hollywood and the leading figure in cosmetic development for the industry.

Factor’s personalized approach to makeup artistry cemented a few specific, studio-endorsed “looks.” For Clara Bow, he drew her sharply peaked cupid’s bow; Joan Crawford’s signature “smeared” lip (extending far beyond her natural line) assuaged the actress’ thin-lipped insecurities and was all thanks to Factor. Industry standards also required actors’ eyes to look deep-set and moody by shadowing them from lash line to socket, and eyebrows were drawn straight, bold, and very, very long (think Louise Brooks).

When orthochromatic film gave way to panchromatic in the 1920s, shiny hair and eyelids captured the glow of incandescent bulbs used on-set to great effect. Factor kept pace, developing specific light-refracting hair dyes to suit this technical shift—even sprinkling gold dust on to Marlene Dietrich’s wigs when asked. He couldn’t rest on his laurels for long though—Technicolor was on the horizon, and with it came a new set of cosmetic challenges.

A final note: In the early ‘30s, still riding the panchromatic “high shine” wave, Factor created a slick lip coat for his famous clients. The formula would go on to become commercially sold as “X-Rated,” the world’s very first lip gloss. Something I think we’re all still kind of into.

http://itgcom.wpengine.netdna-cdn.com/wp-content/uploads3/userphoto/62.jpg—Lauren Maas

 Lauren honed her beauty sensibilities in Qatar, where she lived for four years while teaching some highly polished young ladies at an art/design university. Now calling Texas home, she specializes in foreign beauty cultures, bizarre cosmetic histories, and products beloved by grandmothers. She’s never met holographic packaging she didn’t like.

Instagram @maasle

Twitter @LaurenMaas

Most Famous Brides of all time: Priscilla Presley

Whoever decided May and June primetime for nuptials was a marketing genius—though a fair amount of credit is probably due to the brides who decided they just weren’t into the whole “winter wonderland” schtick. Either way, happy wedding season, folks! Let’s talk about some famous brides, because that’s generally a topic the betrothed and non-betrothed can get excited about equally.

Bridal beauty isn’t necessarily avant-garde—nor does it need to be. The whole premise behind the wedding day look is that you want to look like your ideal version of yourself. Still, a little oomph over your everyday moisturizer, concealer, mascara combo is probably in order, just to make everything feel oh-so- very Special Day. In which case, an inspo picture or two can only help matters. This week’s (there will be more…): Priscilla Presley in her 1967 wedding to the King. Story goes, Elvis first saw 14-year old Priscilla Ann Wagner when he was stationed in Germany and she was living at an Air Force Base. When discharged, the two resorted to communicating through letters. Fast forward a bit (we’re leaving a lot out because we guess you want to get to the beauty aspect), Elvis asked Priscilla’s parents to let her move to Memphis where she would finish school. They got married in Vegas when she was 21.

The look was prime 1967—cut crease, kitten lashes, and a dramatic cat eye without going too drag. Still, it’s surprisingly wearable, says makeup artist Carolina Dali, who we consulted to update the technique for modern day brides. The only thing that dates it is the lip liner and heavily stenciled brows, to which there is a compromise. To channel the Queen to Elvis’ King, Carolina breaks it down in more detail:

Make no mistake, this is not no-makeup makeup. And every once and a while, it’s nice to make a change from the norm. First step: liner. Because of the precision needed to get into the inner corner of the eye, gel wont work here. Carolina’s go-to is Tom Ford’s Eye Defining Liquid Liner Pen in Deeper. It’s dual-ended, with a more traditional brush tip brush on one side, and a micro felt-tipped brush on the other—perfect for getting in the inner corner and perfecting simple details. “It’s super black, and it really stays on,” Carolina says. “That super-skinny tip is going to be able to give you the control to get into the inner corner of the eyes without it looking too thick. You want the line on the inner corner to be very thin—it will gradually become thicker about one-third of the eye in.” The eyeliner is softened by the lashes—think big and bushy. For Priscilla’s eyes, go for a strip of false lashes like Esquido’s Voila Lash Mink False Eyelashes, but keep the lashes minimal on the bottom. Priscilla’s volume comes from shadow applied on the lower lash line. Take a cool-brown eyeshadow, like Charlotte Tilbury’s The Rock Chick Luxury Palette, and an angled brush to softly sweep a line on the bottom of your eye. The shade on the upper-right-hand corner, Enhance, is great for the lower lash line. Priscilla’s bottom liner extends outward and softly fades away creating the look of a shadow cast from her lashes. Marilyn Monroe was also another fan of doing this, and it’s a good trick for when you really want to get the ’60s-sex-kitten point across. On the actual lid though, just a sheer wash of a light taupe. The shade Prime (upper left hand of the quad) does the trick. It’s just the slightest bit of shimmery—not necessarily sparkly—to keep the Vegas theme contemporary.

Priscilla’s brows are likely penciled in and arched, though we’re not going to do that to you on your wedding day. Instead, to update the brows while still in the realm of Mrs. Presley, Carolina suggests going full, but not blocky or strict. “I would recommend Bobbi Brown Brow Kit in Saddle/Mahogany 2. It’s a powder formula, looks more natural, and blends better than a pencil. Using the Chanel #12 Angled Brow Brush, I apply the lighter brow powder to give the brows a fuller effect, followed with the darker shade to fill in any gaps where there’s missing hair. Set the brows with a light sweep of Marc Jacobs Beauty Brow Tamer Grooming Gel,” Carolina says.

Then, go nude on the lips. Priscilla’s are the a classic ‘60s pale shade, but with a little more color than your full-on foundation lips. Lighter the better though, but stay within the range of not-too-pink, not-too-beige. Tom Ford Lip Color in Blush Nude layered over a a full application of Votre Vu’s Drawmatic Lip Liner in Naked is the way to go.

“Because the focus is on the eyes, I would keep the skin as clean and minimal as possible,” Carolina says. A lightweight but radiant foundation, such as Giorgio Armani’s Luminous Silk Foundation, still feels like your skin but gives it a porcelain-finish. And because there’s so much going on the eyes, no blush, no bronzer. Spritz on the vintage Guerlain Shalimar—and sure, you can walk down the aisle to “Can’t Help Falling In Love,” but you’re much more of an unexpected “She Wears My Ring” bride anyway.