Backstage Beauty: Felder Felder Autumn/Winter 2012
By Katie Jones, Feb 17, 2012
Felder Felder's Autumn/Winter Blonde collection was inspired by Ryan McGinley's cave photographs and for Mac's Key Makeup Artist Georgina Graham, it was important to keep the makeup natural, textured and tonal to fit in with the raw and wild, arid winter theme.
Graham used Mac Mineralise Moisturiser all over the face before applying Longwear Concealer Foundation and Prep + Prime Highlighter to hide dark circles under the eyes.
If there's one product that has created a stir backstage so far this season, it's the Sculpting Cream. Graham used two of the six shades by blending them onto the cheeks horizontally for a weathered look. She said, "The amazing thing about these creams is that they can be used over a powder. They're great for building up textures".
As well as the new Sculpting Creams, Mac's second most coveted new product, the Full Trend Lip Palette, added to the beautiful, natural look. Graham used "the perfect nude", French Nougat as a lip balm by pushing it into the lips for a soft sheen.
Backstage Beauty: Moschino Cheap & Chic Autumn/Winter 2012
By MyDaily Staff, Feb 18, 2012
Mac's Val Garland created a fresh faced look for Moschino Cheap & Chic, which she described as "very plain and simple using fleshy, peachy tones". This meant that foundation and eye makeup was kept light, in-keeping with the natural skin feel, as really, this look was all about the glittery, pink lips in a variety of shades.
The lips were lined with a paler colour first to act as an adhesive and to create a 3D effect. A white powder was dusted over the chin and the lips were covered in either a light pink or fuchsia shade of glitter, which was patted down with a flat brush to smooth any excess from the edges and remove the white powder that caught any glitter from the chin.
Eyes were nude and clean with a cream eye pencil inside the lid and little colour was added to the cheeks (Val told us she was bored of highlighting). Brows were brushed backwards for a bushy look (another key trend for the season) while eyelashes were left bare.
Michael van der Ham
Makeup: Lauren Parsons
Hair: Luke Hersheson
Backstage Beauty: Michael Van Der Ham Autumn/Winter 2012
By MyDaily Staff, Feb 20, 2012
Mac's Lauren Parsons described the Michael Van Der Ham look as "Veronica Lake meets 2012".
She created a flawless base by using Mac Mineralise Charged Water Lotion followed by Face + Body and concealer.
Russian Red added a light stain to the lips, with lip balm lightly patted over the top and and cheeks were contoured with Taupe Powder and Lady Blush.
Brows were 50s inspired and brushed upwards with a strong arch for that elegant Elizabeth Taylor look, while Blacktrack Fluid Liner was applied in a feline shape before lashes were curled, with mascara on both the top and bottom. For that extra feline look, a half a set of falsies was added to the top lash line and eye liner was applied on the lower rim while NCIS and NW20 pencils were used on the lower lash line for a natural shadow.
Last but not least, gold leaf was added at the inner corners for an ultra-glam finish.
At Michael van der Ham make-up artist Lauren Parsons adorned a traditional 50s feline eye with gold leaf for a modern take on a classic. She used a a natural hues Paint Pot under the eye to create subtle shadow and MAC Pro Chroma Graphic pencil in either NC15 or NC120 in the lower water line to give subtle, sexy feel to the eyes.
Luke Hersheson prepped hair with Pli before tonging and pinning hair in place to set. Hair was let loose, brushed through with a soft bristle brush and misted with plenty of L'Oreal Professional tecni art fix design. It's slightly more wavy than the classic Lake look which gives it more edge.
“Dark, Nordic” Beauty, Backstage At Fendi
February 23, 2012
“Karl likes an eye,” Peter Philips admitted backstage at Fendi this morning—a partiality that Lagerfeld has certainly made clear over the last three seasons at the Italian house. And while following Spring’s gold and silver foil eye shadow was certainly no small task, Philips made quick work of it for Fall, painting lids with a “feathered” white brushstroke of MAC Lipmix. “There are white details in the collection,” the makeup artist explained, referencing the antelope furs specifically while scrawling a thin black line across the upper lash line with Chanel’s Stylo Yeux Waterproof Eyeliner. A few slicks of mascara on top lashes only provided a hint of additional embellishment.
“I need pins! It’s a big-time pin situation over here,” Lily Donaldson chirped from Philips’ chair, beckoning Sam McKnight to come over and fix her double halo of hair twists. “It’s a dark, Nordic look,” the hairdresser remarked of the style, pointing out that his sleek, embellished coifs were meant to be “almost Victorian, not fairy-tale.” Prepping models’ strands with Sebastian Forte Strong Hold Gel, McKnight created precise middle parts, separating out two low pigtails, which he divided into sections and “twisted like a rope.” “There’s a childlike quality to it,” he surmised, fastening small elastics on each twist’s ends before ultimately removing them for an “undone” effect. It was labor-intensive, to say the least. “We started at 6 a.m.,” McKnight divulged of the call time for the 11:30 a.m. show.
Source: vogue.it, vogue.com, style.com's Beauty Counter Blog
The orange/black/white/purple on the eyes & brows looks awesome.
The hair! (Runway Hair F/W 12.13? Coming soon)
“Virtual Dolls,” Backstage At Prada
February 23, 2012
There’s something that should be said about the lighting in most backstage areas at most fashion show venues from New York to Paris. It’s unforgivingly bright—and purposely so: the better for makeup artists to see their canvases. So what does this mean for the final beauty look? It can look drastic up close, yet incredibly seamless on the runway. And so it went today at Prada.
“We’ve been here since noon,” Pat McGrath exclaimed before the 6 p.m. presentation commenced, referring to the “busy” face that required a tricolor layering effort on lids. “Mrs. Prada wanted a very strong eye,” the famed facepainter said. And McGrath obliged her, layering an orange greasepaint over blocked-out arches and sweeping a black greasepaint through the crease and up toward the brow bone. Upper and lower lash lines were then rimmed with alternating strokes of black and purple pencil. “They’re all colors from the collection,” McGrath explained of her pigment choices—right up to the theatrical white foundation that she blended from the outer corner of the eyes around the temple, and the ivory paint that helped straighten out the liner.
“They’re virtual dolls,” Guido Palau offered, putting a label on it. “Very manga,” the Redken creative consultant continued, describing the different colored extensions he was adding to emphasize the “synthetic feeling” of it all. “[I chose the extensions] based on which colors clashed best with the girls’ natural hair,” he said. (A long table was littered with opened packages of red, platinum white, and black hues for him to choose from.) Coating hair with Redken Thickening Lotion 06 Body Builder and blow-drying it backward, Palau smoothed strands away from the hairline with its Hardwear 16 Super Strong Gel “so it stayed back,” and then applied its Iron Silk 07 Ultra-Straightening Spray before straight-ironing the entire head. A final mist of Redken Forceful 23 Super Strength Finishing Spray ensured that everything remained superbly structured. “Real girls do this to their hair,” Palau admitted of the ombré streaks that have risen in popularity over the past few seasons on and off the catwalk. “But the perfection here becomes the ‘unreality.’” Leave it to Prada to make something played out, cool again.
Source: vogue.it, vogue.com, style.com's Beauty Counter Blog
The makeup at Prada is beautiful up close.. and as the makeup of her collection last summer, I also think it works best on dark skin. This time it doesn't create a contrast like with the silver shadows but the orange and then the dark circles seem to work almost ombré-like when done on dark skin. Do I make sense? probably not.
Phillips' work at Fendi is also great as usual.. he's probably the highlight of Fendi shows for me.
Any info on Pringle of Scotland's makeup? loved how the models' skin looked, tried googling it but couldn't access the blog that seemed to have the info!
Does anybody have some info on the Blumarine make up?
Emilio Pucci was really nice too.
Braids And Black Lip Balm - Backstage At Pucci
February 26, 2012
Referencing old Helmut Newton photos, Luigi Murenu honed in on a “slightly Germanic but more modern” feeling backstage at Pucci, where he devised what will likely be one of the most readily copied hair looks of the season. “It’s less coiffed and more tousled,” the super-stylist emphasized of the long, slightly wavy locks that he coated with Phyto Professional Intense Volume Mousse and middle-parted before pinning a series of color-matched braided extensions a few inches back from models’ hairlines to resemble a coronet. “It can’t be perfect; then it will look too retro,” Murenu continued, jostling flyaways loose around the face and ensuring that the hair that hung down in the back was languid and slightly texturized.
Lisa Butler was also trying to avoid the dreaded R-word. Taking her cues from Peter Dundas’ collection, which she described as “quite structured,” the makeup artist decided to do “something different” in the form of a smoky lip and a nude eye. “Finally!” she exclaimed, reversing the makeup look at a show that frequently relies on sultry lids and bare mouths. Drawing on a “fat” brow, Butler applied very little base, which she topped with “pink-y, outside-y, baby cheeks,” alternating between MAC Cream Color Base in Coral and its Blushcreme in Brit Wit, depending on each model’s skin tone. “We’re trying to approach each girl differently,” Butler said, using mascara here and black liner pushed into lashes there. The one unifying factor was a custom-blended black lip balm that she created by mixing a hint of MAC Lipmix in Black with its Lip Conditioner. “It’s like these eighties Shiseido lipsticks that were very weak in pigment but gave a little bit of darkness,” she explained of the effect, which read as a barely perceptible soft, black-currant wash on on the runway. “Don’t start wearing black lipstick, though; it’s very unflattering,” Butler warned of taking the idea and running with it—in the wrong direction. Her washed-out incarnation, however, is certainly worth a whirl.
style.it | stlye.com
When I get sad, I stop being sad and be awesome instead. True story.
Backstage beauty: Blumarine Autumn/Winter 2012
By Sarah Karmali, Feb 25, 2012
Charlotte Tilbury was at the helm for Blumarine beauty this season (she had a busy day yesterday), and for which she took inspiration from early 90s supermodels: think taking your Jourdan Dunns and Cara Delevignes, and transforming them into new-age Linda Evangelistas and Christy Turlingtons. (Which, FYI, did pretty much happen. We spied both Jourdan and Cara backstage.)
"It's a very strong, angular look," Charlotte told us. "Lots of contouring, with an elongated, quite feline eye."
Mac oil control lotion was used to prep the skin, while Mac Studio Sculpt Foundation and Pure Sculpture Cream were combined to create contouring under the cheekbones, along the jawline and down the neck.
The sultry, feline eye was achieved using Mac Eye Pencil in Coffee (a real favourite among the Milan shows this season) combined with Mac Cream Colour Base in Root across the lid. Individual lashes were added to the outer corners to really lengthen the eye. Then finished off with a coat of Mac Zoomlash mascara.
Arches were accentuated on the brows, to really set off the angular eyes, while a touch of Cream Colour Base in Pearl was added to the apples of the cheeks. Lips were lined with Mac Lip pencil in Spice, combined with a subtle slick of Peachstock Lipstick.
And as for the hair? "Sexy and gorgeous," was the order of the day. Loose and textured, hair was treated with Pantene Volume Mousse and then roughly blow-dried with a large round brush for "a bit of a kick". A double layer of mousse was added to the crown to make the roots really stand up.
With a rough centre parting, the hair was left loose and airy, creating a slightly carefree, individual look for each girl - and set with a quick spritz of Pantene volume hairspray.
The Blumarine girl, she's sexy and she knows it.
Source: vogue.com, vogue.it, mydaily.co.uk
Originally Posted by MulletProof
Any info on Pringle of Scotland's makeup?
Didn't find any info either, besides backstage glimpses of the hair & makeup team (applying the lip color) in action:
Dolce & Gabbana
Makeup: Pat McGrath
Hair: Guido Palau
Luminous Faces at Dolce & Gabbana
MILAN — The Dolce & Gabbana beauty look was inspired by religious iconography of the Virgin Mary. Hairstylist Guido Palau created a simple look, "almost like a base," to accommodate jeweled and embroidered headpieces and hair accessories — clips, barrettes, combs and headbands in hair.
After creating a center part, he sprayed Redken Body Full Volume Amplifier onto damp hair and blow-dried with fingers, adding slight texture and grip for the hair accessories. Hair was gathered over the ears into a semi-tight, low ponytail. It was loosely twisted into a low, soft knot and pinned flat against the nape.
Makeup artist Pat McGrath, using Dolce & Gabbana Make Up products, said the designers "wanted to bring light to the face."
Flat, matte neutral tones from the Smooth Eye Colour Quad in Desert were swept over eyelid with the gold shade from the Golds quad. Luminous Cheek Colour in Delight was applied to the cheeks. On the lips, Classic Cream Lipstick in Petal was dabbed on the center while Mandorala was put on the top lip for a creamy finish.
Geeky and Ghoulish, Backstage At Marni
February 26, 2012
Bangs are back for Fall, and Paul Hanlon’s onboard with their latest resurrection. “It’s very, very Sassoon,” he said, describing the custom-cut, heavy faux fringe that he beveled around the front edges this morning at Marni, to impart a 1960s look. “The clothes are all really graphic and bold, so it’s really a nice change of pace to do something like this,” the stylist divulged of the “retro-ness” of the hairpieces, pointing out that the specific shape he had snipped into the series of clip-on accessories is particularly flattering to womens’ faces. Using Frederic Fekkai Glossing Cream to give strands a certain softly textured languidness, Hanlon slicked back a front section to have something to slip the bangs into. “It’s a little geeky, in a way, which I kind of like,” he said of the end result.
Tom Pecheux was going for less geek and more ghoul. “She’s a very spooky girl,” he said of the Marni woman for Fall, whom he described as equal parts Tim Burton and The Addams Family. Ghostly as she may be, Consuelo Castiglioni’s girl is nothing if not quirky and posh. “It’s 15 years that I’ve been doing this show, and this is my favorite collection,” Pecheux admitted of the “super-modern, wearable clothes,” that “stink rich,” as he put it. Using a single pot of MAC’s forthcoming Pro Longwear Eyeshadow in Mauveness, the makeup artist sculpted cheeks and eyes with the purplish-brown pigment so that they had a hollowed-out effect. The one break in the monochrome color scheme came via a white pencil that lined the inner rim of the lower lash line and was diffused through the inner corners of the eyes “like a tear,” according to Pecheux. Why were the models crying? We can only imagine it had something to do with all of those oversize fur collars being so heartbreakingly divine.
Makeup: Peter Philips
Hair: Guido Palau
Raf Simons’s Farewell Kiss: Rosebud-pink Lips at Jil Sander
by Catherine Piercy
As a designer who understands the emotional power of makeup, Raf Simons has delivered one directional beauty moment after another on the Jil Sander runway in recent seasons. There have been electrifying DayGlo lips, crisp jade-lined lids, and pure, utterly stripped-down skin—all conceived in collaboration with longtime backstage makeup artist Peter Philips. Those wondering what magic the pair would dream up for Simons’s charged farewell show at the company’s Milan headquarters today need only have looked to the exquisite glass-encased floral bouquets that punctuated the otherwise pristine white runway.
“Rosebud-pink lips,” Philips said simply. To capture the velvety finish of a fresh-plucked petal, he filled the mouth in with a shade of rich rose (Chanel Rouge Allure Velvet Lipstick in L’Élégante). A crisp outline (Chanel Precision Lip Definer in Pivoine) added an element of strength to the resolutely feminine look. “Raf was thinking about a day in the life of a woman as she moves from morning to afternoon to night. He wanted something soft, delicate, and quite sensual for the Jil Sander woman,” he said. Paired with a softly shaded brow and a smooth, fifties-inspired low ponytail (courtesy of hairstylist Guido Palau), the look played a complement to the modern spirit that Simons has perfected in his tenure at the fashion house—and a collection that left a tearful house standing on its feet for his final bow.
Mid-Century Gone Modern, Backstage At Jil Sander
February 25, 2012
“We approached it like any other collection,” Raf Simons’ longtime makeup collaborator Peter Philips said of the beauty look backstage at Jil Sander—the designer’s last as the house’s creative director. And while Philips’ handiwork abided by a set of codes that has long reigned here, nodding to mid-century themes updated with modern touches, it was more than just any other collection, as anyone who was in attendance at today’s show can attest.
Creating a matte pale base using either Chanel Vitalumière Aqua Ultra-Light Skin Perfecting Makeup or its Perfection Lumière Long-Wear Flawless Fluid Makeup, depending on each model’s complexion, Philips curled lashes and redrew bleached brows when needed before focusing his attention on a “soft, rose-petal” pink lip. Tracing a finite line around pouts with Chanel Lip Pencil in #32 Pivoine so that the resulting color was “very graphic, not retro,” Philips proceeded to fill in lips with its Rouge Allure Velvet Lipstick in L’Élégante. “There is no sheen, so you just see pure color,” he said of the intensity that a matte-finish mouth adds to the equation.
Redken creative consultant Guido Palau stayed apace with Philips’ general direction, crafting “the most couture ponytail” he’s done all season. “You get the feeling of a Hitchcock woman,” Palau elaborated, prepping short, side parts and long blunt-cut extensions with Redken Satinwear 02 Ultimate Blow-Dry Lotion before brushing hair backward and pulling it over ears for a hint of fifties-era modesty. “It makes it look very done,” he explained of the technique, spritzing the style with Forceful 23 Strong-Hold Finishing Spray to impart a “lacquered” effect.
While Palau tweeted that things got “emotional” before the show started, he was slightly more stoic in person. “There are all these flowers in glass cases, which I’m sure will be read into slightly,” he said of the almost tragically beautiful set design. But his initial feeling was shared by every single person who had the pleasure of witnessing Simons’ last dance here; maybe it was the two pre-presentation espressos I had backstage, but my knees were shaking just a little bit when Simons took his final bow.
Source: vogue.com, vogue.it, style.com's Beauty Counter Blog
Makeup: Linda Cantello
Hair: Franco Gobbi
I like how the above model's eyebrow looks almost like a branch that has just lost its leaves in autumn.
‘Geometric’ Shapes Figure at Emporio Armani
MILAN — "Armani always looks for a geometric shape," makeup artist Linda Cantello said about the strongly colored cat eye on models, created with a burgundy shade from a Giorgio Armani Beauty Eyes to Kill collection that launches in November.
The look was inspired during a November Japan trip where Cantello had noticed a "Dickens, romantic and punk style" hybrid on Japanese teenagers. "An eye in a punk shape and a hot color makes it eclectic and gives a bit of a tougher look,” Cantello said.
She used a natural foundation, and lip color was patted onto the lips.
Hairstylist Franco Gobbi created an accessible, spontaneous hairstyle that worked with the collection's handful of hats.
"It's a soft, modeled, natural version of Olive Oyl — When we think of her hair, we think of something sleek and poignant, but that was too rigid for me," said Gobbi.
Clean, product-free hair was combed and dried with a Japanese brush to remove static and was given a low, side-part that fell unevenly on both sides of the ears. A long, low ponytail was wrapped around itself, knotted and broken-out.
Last edited by flyme2themoon; 27-02-2012 at 11:20 AM.