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23-02-2011
  31
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flyme2themoon's Avatar
 
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Roksanda Ilincic
Quote:
LONDON – A fierce Helmut Newton-esque Glamazon was makeup artist Lucia Pica’s vision for the Roksanda Ilincic woman, dressed in luxury fabrics and rich autumnal shades.

Think [of] someone between Jerry Hall and Charlotte Rampling. The look is dark, sophisticated and groomed, but it is not too pretty, more like masculine-feminine,” she explained.

Key here was a dramatic, elongated eye defined with MAC Cosmetics’ Blacktrack gel eyeliner and painted with Cork, an ochre brown eye shadow. Cheeks were contoured with a dark Foundation Stick and highlighted with Shell, an icy beige cream-colored base.

Lips got a rich chocolate-brown, custom-made hue, a mix of several glosses, Film Noir lipstick and Cork lip liner. For models’ copper-bronze-colored nails, manicurist Sophy Robson concocted a blend of Leighton Denny polishes.

Topping off the Seventies theme was long hair with a loose wave and center parting. The coifs by Shon were super shiny, courtesy of Redken’s Guts 10 Volume spray and Quick Dry 18 Finishing Shine mist.

Source: vogue.com and wwd.com

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23-02-2011
  32
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Giles




The power of red.

giles-backstage05.JPG giles-backstage06.JPG giles-backstage07.JPG
giles-backstage09.JPG giles-backstage14.JPG giles-backstage12.JPG

Quote:
LONDON "A slightly odd Victorian Governess’’ is how makeup artist Lucia Pieroni described the look at Giles. "She is stoic, strict, incredibly precise and disciplined. Her face is shiny and taut, with a splash of red."

Using Mac, Pieroni created a clean face with a light base, dabbed Lipglass across the eyes, cheeks and temples and applied a red lip liner and Ruby Woo lipstick for a full matte red lip.

Sacha Mascolo-Tarbuck and Ashley Javier created an equally precise, disciplined and polished look with Toni & Guy’s Label.m products. Using dry shampoo, gel and Smoothing Cream, they pulled hair all the way back in a solid ponytail, which they then turned into a sculptural chignon, kept in mint condition inside an invisible net. "It doesn’t feel ladylike or girly, but rather fluid," Javier said.
Source: wwd.com

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23-02-2011
  33
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Alberta Ferretti



Quote:
“Carnaby Street innocence.” That’s how hairstylist Guido Palau termed Alberta Ferretti’s Sixties-inspired slicked-back chignons that nodded in the direction of the decade’s poster girl, Twiggy.

The style’s low, side-swept bangs and sharp side part were molded into place using Redken’s Velvet Gelatin blow-dry lotion before being spritzed with Redken’s Forceful 23 Super Strength Finishing Spray for a glossy sheen. Neat knots at the nape of the neck completed the look that — despite the artful technique involved — appeared discreetly simple.

Following the theme, makeup artist Lucia Pieroni for MAC Cosmetics conceived a contemporary spin on the decade’s makeup characterized by strong eyes and nude lips.

Skin was left bare aside from MAC’s Moisturizing Cover concealer and Prep and Prime finishing powder. Sculpt Powder was applied to the cheekbones to give them an iridescent sheen. Lips were finished with Snob, a pinky beige hue.

Pieroni masterminded a structured eye using a creamy taupe eye color base, Paint Pot in Groundwork under the eye and a Chromagraphic pencil in a beige tone.

Fake lashes were applied with Zoom Lash mascara on top and bottom lashes. An eye pencil in Coffee was used to line the outer rims and round out the look.
Source: wwd.com

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23-02-2011
  34
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Aquascutum / Marios Schwab / Mary Katrantzou
Aquascutum



Marios Schwab




Mary Katrantzou


Source: vogue.com


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23-02-2011
  35
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Gucci





Quote:
MILAN – For fall, the Gucci girl has porcelain skin and glossy lips reminiscent of an Edwardian lady, juxtaposed with a textured ponytail straight from a Seventies dance floor.

Pat McGrath applied Max Factor’s Experience foundation to add luminosity to the skin, paired with strong lashes courtesy of Max Factor’s Volumizing mascara before working mouths into glassy claret pouts with Elixir lipgloss by Max Factor. “It’s sensual and luxurious,” said McGrath. A bright red hue was used in the center of the lips to give definition and an exaggerated quality.

Hairstylist Luigi Mureno slicked back manes into low-slung ponytails that were accessorized with feathers. “It’s masculine, but sexy,” he said.

Hair was pulled into the nape before its length was crimped, backcombed and then straightened using a flat iron to achieve volume. Many heads were topped with fedoras in bright hues.

Source: vogue.com and wwd.com

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23-02-2011
  36
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Sorry I know this isn't the right thread to ask, but who is the model with the blue eyes and red nails touching her face?

Gorgeous makeup looks btw! Can't wait to try some at home

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23-02-2011
  37
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Quote:
Originally Posted by flyme2themoon View Post
The power of red.


Source: wwd.com
It's like Giles redeemed themselves from the outrageous makeup last season. Thanks for the updates.


Last edited by missbluejean; 23-02-2011 at 08:38 PM.
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25-02-2011
  38
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^ Yes. Definitely.
(And you're welcome!)


More Giles backstage photos...

Giles 1.jpg Giles 2.jpg Giles 3.jpg
Giles 4.jpg Giles 5.jpg Giles 6.jpg
Giles 7.jpg Giles 8.jpg Giles 9.jpg

Source: style.com


It's the F/W 11.12 shows like this one, Diane von Furstenberg, Ralph Lauren, and Luca Luca that make me want to wear red lip shades all the time.


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25-02-2011
  39
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Prada





Quote:
by Catherine Piercy

THE CREDITS:


Makeup, Pat McGrath for CoverGirl

Hair, Guido Palau for Redken

THE LOOK:
Sophisticated schoolgirl

MAKEUP: “Mrs. Prada wanted the girls to look young and cool and a bit raw—as if they’d just been trying on clothes in front of the mirror,” said McGrath, who gave models flushed pink cheeks and dusty rose lids that meshed beautifully with the designer’s blush-colored aviator caps, Mary Jane hybrid knee boots, and sixties-inspired frocks.

HAIR: Palau’s neatly brushed ponytails made loose reference to a young Catherine Deneuve (think Belle du Jour) from the front—but the long silver barrettes he used to fasten them at the nape of the neck looked like something a schoolgirl might have stashed in her desk. “It’s innocent,” he said. “But there’s something quite dark about [pairing] childish details with those sophisticated clothes.”

THE TOOLS:

MAKEUP:

SKIN: After “pale-ing out” the complexion with a lighter-than–skin tone foundation, McGrath got down to work. “More blush!” she repeated like a mantra to her team, blending layer upon layer of warm pink cream "down and out" toward the hairline to mimic a natural flush. (Also working in her favor: the steamy backstage area, which had models, photographers, and makeup artists frantically fanning themselves.)

EYES: McGrath mixed the perfect rosy brown eye color by hand, and then blended it from the lids to the brow bones. She skipped mascara altogether and rimmed the eyes with a soft beige pencil for a wide-eyed look instead.

LIPS: In keeping with her monochromatic palette, “We’re dabbing that same rosy blush onto the lips,” she said.

HAIR: “It looks like the girls could have done it themselves,” said Palau, who finger-combed a two-inch section of hair at the crown straight back and sprayed it into place using Redken Forceful hair spray. After gathering the bottom with a long, flat barrette, he pulled out a few pieces at the sides of the face—cutting them when necessary to create the appearance of girlish flyaways.

NAILS: A clear top coat (Seche Vite Dry Fast) gave hands a hint of shine.
Source: vogue.com and vogue.it

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25-02-2011
  40
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Fendi






Quote:
THE CREDITS:

Makeup, Peter Philips for Chanel; hair, Sam McKnight

THE LOOK:
Madcap Hitchcock heiress

MAKEUP: “There’s a slightly English screwball feeling to the face,” said Philips of his diffused metallic eyes in rusty bronze and silvery lavender, which he blended all the way to the brow bone. Worn with softly shaded cheeks and nude lips, “it’s moody, or a bit nostalgic, but it’s also the kind of thing the girls could wear right out into the street.” Moments after the show finished, models Abbey Lee and Anna Selezneva did just that—setting off a firestorm of flashbulbs from the dozens of street-style bloggers waiting outside the cobblestone courtyard of the Fendi headquarters on Via Sciesa.

HAIR: McKnight may have been channeling a Hitchcockian woman (Mrs. Danvers from Rebecca) with his messy, deconstructed twists—but from the front row, models recalled a Fendi-fied Daphne Guinness. “It’s a gothic and a bit sick, really,” said McKnight of the bold mustard, teal, tomato, or deep burgundy streaks he worked into the hair before slipping Fendi’s colorful mismatched headbands over the crown.


THE TOOLS:

MAKEUP:

EYES: “Karl [Lagerfeld] wanted a focus on the eyes. Something metallic and shiny, a play on warm and cool,” said Philips. He blended two creamy, glimmering pigments (Chanel’s forthcoming Illusion d’Ombre eye shadows) from the lashes to the brow bone for a hazy, washed out feeling. To open up the eyes, he used a bit of beige kohl pencil (Chanel Eye Kohl in Clair) on the inner lids.

SKIN:
Philips blended Chanel’s Pro Lumičre foundation over the skin as needed, and then sculpted the cheekbones with the company’s Rose Ecrin blush (available in the U.S. this July). . He finished by dabbing a dot of the same foundation on the lips.

HAIR:
“We wanted the hair up to work with the high collars in the collection,” said McKnight, who used Sebastian Mousse Forte from roots to ends before choosing from a rainbow-like assortment of extensions and attaching one wide, solitary strip at the crown. “It’s quite structured and severe, but with soft edges,” he said of the look, lightly spritzed with Pantene hair spray, which spilled haphazardly over the back and sides as if models had twisted it up tightly, pinned it painstaking into place—and then slept in for days.

NAILS:
After removing any polish from the hands and feet, models’ nails were buffed for shine.

Source: vogue.com and vogue.it

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26-02-2011
  41
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Prada was so pretty.

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ten days of perfect tunes
the colors red and blue
we had a promise made

we were in love


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26-02-2011
  42
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Versace


VOGUE.IT
CREDITS:
Makeup, Pat McGrath for CoverGirl
Hair, Guido Palau for Redken

THE LOOK:
MAKEUP: From the first thump of the pulsing Prince sound track to the last leather-trimmed lace-up boot, it was clear that Donatella Versace was going back to the house’s high-octane roots. Working in subtle contrast, McGrath’s glowing skin, flushed cheeks, and shaded eyes were “fresh, gorgeous, divine, but minimal.”

HAIR: Whether it was grazing the back of a canary yellow feather cocktail dress or tucked neatly under one of the designer’s colorful fur neckwarmers, Palau’s long, straight, center-parted hair looked fresh on the runway. “It’s a modern reinterpretation of glamour,” he said.

THE TOOLS:
ON SKIN: Despite a hectic week of late-night fittings and early call times in Milan, which had some models running on two hours sleep, McGrath created “beyond beautiful” skin using layers of cream blush. “It’s all about that gorgeous rosy cheek,” she said. To achieve it, she blended Olay’s Simply Ageless moisture-rich formula from the apples of the cheeks toward the temples, finishing with a few dots of highlighter high on the cheekbones and the bow of the lip.

ON EYES: For the subtlest definition, McGrath blended a soft beige shadow (CoverGirl Tapestry Taupe) across the lids and swiped brown mascara (CoverGirl NatureLuxe mascara) along the upper lashes.

ON LIPS: CoverGirl NatureLuxe lip balm “for moisture.”

HAIR: “It’s nice to see that very straight, ironed hair again,” said Palau of the late nineties staple. He added in extensions before blowing it out with Redken Hot Setts Thermal Setting Mist and running over it on the iron. He asked models to stand while he finished the look, cutting the hair straight across the bottom to create “a blunt panel” effect.

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26-02-2011
  43
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Moschino


Quote:
Moschino’s Fall runway may have had all the quirky twists you’d expect to see from the Italian fashion house (Coco Rocha sported a chicken hat, after all) but behind the scenes there was a well thought-out tribute to retro glamour, with nods to “high society, Mr. [Irving] Penn, and fifties makeup,” famed face painter Tom Pecheux revealed backstage. This meant yet another graphic eye sighting in Milan, but this one had a clever twist. “We stole the shape of this dark eye from the sunglasses in the collection, so it looks like every girl is wearing them on the catwalk whether she is or not,” Pecheux said as he layered MAC Single Matte eye shadow in Carbon on top of a base of its Technakohl liner in Graphblack drawn to resemble an elongated ovoid shape. To correspond with the collection’s masculine attitude, which was helped along by the appearance of a few German-style military caps, Pecheux applied a blend of MAC powder blush in Pink Swoon and Well Dressed in what he described as a “boyish” way, so low underneath the cheek bones to avoid “a pretty look.” Lips were erased with concealer to finish the face and to keep the focus on the eyes.

Hairstylist Odile Gilbert rolled models’ tresses into tight and tall conical French twists to mirror the exaggerated and elongated lids. “It’s a super-classic French twist that’s tight on the sides,” Gilbert disclosed while coating strands with Elnett hairspray, backcombing for height and texture, and pinning to secure.
—Christina Bentley
Source: style.com/beauty/beautycounter


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26-02-2011
  44
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Antonio Marras


Quote:
Antonio Marras’ fascination with proportions and recycled fabrics inspired the twisted forties makeup that made a lasting impression at his show yesterday. With the collection taking its cues from the designer’s mother in the late 1940’s, a giant mood board featuring Mama Marras in her prime was erected backstage, complete with collage cutouts of lips and eyes, which were taped on top of the images’ own features. It was a bizarre and slightly jarring sight, which wasn’t lost on makeup artist Lisa Butler, who chose to focus her energy on re-creating a similarly disproportionate, enlarged mouth. “I didn’t want to get stuck in the forties with the makeup so I immediately avoided plum shades. I took a classic shade and twisted it,” she said. She constructed a two-toned pout by painting a slick of MAC Lipstick in Runaway Red—a matte crimson due out for fall—on both top and bottom lips and adding a coat of its Lip Pencil in Genuine Orange on the bottom only. The tonal experiment also had an off-kilter shape. “It’s got a joker element,” Butler pointed out with pride. “We’ve tipped up the corners of the lips, which gives an impression of a sick smirk, almost like we’ve drawn on a smile—it’s just a bit weird!” And how. But in a season that has offered up more straightforward red lipstick applications than we have room to mention here, weird is where it’s at. —Christina Bentley
Source: style.com/beauty/beautycounter


Last edited by flyme2themoon; 26-02-2011 at 06:40 PM.
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26-02-2011
  45
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Louise Gray





Quote:
We thought it’d be hard to top the cornflower blue eyes and raffia hair Louise Gray sent down her Spring runway, but her beauty crack team was clearly up for the challenge at the designer’s Fall show this weekend. Four words: color-clashing face freckles. “They have the best pigment needed for this intense dot of color,” makeup artist James O’Reilly said of MAC’s multicolored Chromaline pigment pots, which he used to draw precise polka dots in red, yellow, white, blue and green. For an added, albeit in no way congruous, bit of flair, hairstylist Luke Hersheson fashioned box-cut fades—”It’s Kid ‘n Play, House Party, Will Smith in the Fresh Prince of Bel-Air,” Hersheson said of the flat-topped ‘dos he prepped with L’Oréal Professionnel Tecni.Art Fix Design hairspray.

—Christina Bentley
Source: vogue.com and style.com/beauty/beautycounter

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