Roberto Cavalli (More backstage photos + some info)
Makeup: Pat McGrath
Hair: Guido Palau
“Insectlike Eyes” And Naomi Campbell, Backstage At Roberto Cavalli
February 27, 2012
Amid the usual backstage hustle and bustle today at Roberto Cavalli, there was a large, gray cubicle erected right in the middle of the hair and makeup area. “Naomi Campbell’s in there,” word came as models whizzed back and forth past a rather large security guard on patrol. Every once in a while, the door would open, revealing a glimpse of Campbell, Mr. Cavalli, and a few well-appointed pieces of animal-print furniture (obviously).
“She called me in the middle of the week to ask me what the hair was,” Guido Palau said of Campbell, who he has coiffed for the better part of 20 years. And the supermodel must have approved, as she got the same long, slightly texturized strands as everyone else. “She’s Naomi, so she’s going to be special, but she’s still got to feel part of the show,” the Redken creative consultant explained, giving the rest of the girls similar waist-grazing extensions that he middle-parted and spritzed with water and Redken Nature’s Rescue Radiant Sea Spray for a matte finish and a slight bend. “We’re trying to offset the glamor, not pump it up,” Palau pointed out, referencing the simply styled “extreme length” that he used to balance out Cavalli’s over-the-top collection.
Stealing a second with Pat McGrath before she slipped back into Campbell’s on-site suite, the makeup artist spoke of peacock- and insectlike irridesence—pops of shimmering blue, green, and gold pigment that she blended into a series of black smoky eyes rooted into a smudged application of CoverGirl’s LiquiLine Blast Eyeliner. “You need to tailor the look to each girl,” she explained of her technique—regular and supermodel alike.
Source: vogue.it, style.com's Beauty Counter Blog
Eyeshadow recommendations similar to the main colors used:
Purples: (It looks purple, not blue as mentioned above, on my screen): MAC Violet Pigment, Urban Decay Ecstasy Green:MAC Humid Golds:MAC Goldmine, Urban Decay Half Baked Browns (various depths listed, as it was applied on the outer v of some models):MAC Saddle, MAC Espresso, MAC Brun
It also looked like a few models had a deep charcoal/black shade (such as MAC Carbon) softly blended in their outer v.
If anyone has any more recommendations, feel free to chime in.
I know that there's a more suitable green than Humid... just can't think of one at the moment.
any info about Gucci? i really want to know what lipstick they used...
Makeup: Pat McGrath
Hair: Luigi Murenu
A ‘Touch of Rossetti’ at Gucci
MILAN — "Just a touch of Rosetti," makeup artist Pat McGrath said about the dark, romantic looks at Gucci, inspired by the strong, red-haired muses of Dante Gabriel Rossetti's 19th-century oil paintings.
Cheeks were spared blush. Cover Girl & Olay Tone Rehab 2 in 1 Foundation gave a polished, natural complexion. Bleached eyebrows set off eyes, swept in nude brown powder, lined in Cover Girl Queen Collection Eye Liner and finished with Cover Girl Lash Blast 24 HR Mascara in black. "One hit of mascara on the top lashes only," noted McGrath.
Cover Girl Queen Collection Lipcolor in Fine Wine gave a deep-red lip with a center dab of Queen Collection's Hot Lipcolor.
Hairstylist Luigi Murenu made soft waves on long hair that was padded with extensions. He added John Frieda Luxurious Volume Thickening Mousse and Luxurious Volume Thickening Blow Dry Spray to lift the roots and add texture.
After giving the girls an imperfect center-part, hair from the sides of the face was loosely twisted and secured at the back of the head with an abstract, bow-shaped clip of jeweled black stones designed by Frida Giannini for the show.
Source: vogue.it, wwd.com
MAC Media Lipstick looks similar to the lip color used.
DSquared2 Makeup: Charlotte Tilbury
Hair: Sam McKnight
Backstage beauty: DSquared2 Autumn/Winter 2012
By Sarah Karmali, Feb 27, 2012
"It's a little bit Lana Del Rey, a little bit 80s prom queen," said hairstylist Sam McKnight backstage at DSquared2.
What he was referring to, were the towering backcombed beehives and big Barbarella 'dos the models were sporting. "Dan and Dean [Caten] are all about their girls looking like they're having fun and feeling fabulous," he added.
First hair was prepped with Pantene Pro V Volume Mousse, and extensions added underneath for extra length and thickness. Then, time for some serious backcombing: the bigger the better. Far from being uniformed, each girl's hair was slightly different, with some sporting a chignon, some half-up, half-down and others just loose, voluminous waves. All were set with Pantene Pro V extra strong hairspray.
Mac maestro Charlotte Tilbury created the corresponding prom queen beauty, which she described as "a universally beautiful look."
"It suits anyone, no matter what their skin colouring, or face shape. It's very glam," she added.
First skin was prepped with Mac Mineralise Skinfinish powder, and Mac Sculpting Cream applied under the cheekbones for contouring. A touch of Light Concealer was patted onto the eyelids, with Eye Shadow in Expresso brushed into the eye crease. For the finishing touches, a thick slick of Mac Fluidline liquid liner in Blacktrack, and a double layer of false lashes - plus plenty of mascara top and bottom - made for seriously dramatic peepers.
The look was finished with a classic nude lip, lined with Mac Lip Liner in Spice, and then blended with Mac Lipstick in Fleshpot for a creamy, slightly textured pout.
Completely OTT, and utterly striking, this was perhaps our favourite beauty look of Milan Fashion Week - we only wish we looked quite this glam at our own prom...
Makeup: Linda Cantello
Hair: Franco Gobbi
February 27, 2012 Backstage at Giorgio Armani Fall 2012
MILAN — Giorgio Armani explored a neo-classical color cosmetics theme this season. Using Giorgio Armani Beauty products, makeup artist Linda Cantello created eyes with a ying-yang-like motif. She colored the inner half of lids in white, while the outer half was made black and swept outward.
"It's a new way of doing the classic black eye," she said. Meanwhile, Cantello dabbed lips with neutral-colored lipstick. Skin was made pale and luminous with products from the Luminessence Brightening Skin Care line.
Hairstylist Franco Gobbi concocted an asymmetric coif "just as a complimentary look, like an accessory" to the Giorgio Armani-designed, Philip Treacy-created black hats that each model wore. Their hair, parted to the side, was worked into a soft, fanned twist then pinned to heads. The style — achieved without any products — echoed the hats' dramatic contours.
"The textures gets too matted and stuck together with product; it doesn't feel alive," explained Gobbi.
Makeup: Val Garland
Hair: Anthony for Wella
Backstage Beauty: Mary Katrantzou Autumn/Winter 2012
By Katie Jones, Feb 21, 2012
Mac makeup artist Val Garland couldn't contain her excitement about Mary Katrantzou's Autumn/Winter collection backstage at the show.
She described the clothes as simply "amazing... full of structure and detail", and for this reason, the makeup was "bare and minimal with a modern take on eye liner".
Garland created an architectural "double step bolt" across the eye lids using either Mac Cream Liner or Penultimate Pen in black, while the face was left to look "beautiful and alabaster" with Mac Face + Body and a touch of concealer.
As for the statement top knots, Wella hairstylist Anthony was inspired by "cool Japanese kids... but these pom-pom style buns are still elegant and we've aimed to show off the proportions of the clothes with their high neck-lines".
He dried the hair with Wella Shape Control Mousse and a flat paddle brush before tying with an elastic. The hair was then teased around quickly (extensions were added where needed) and sprayed with Super Set Hairspray, although the finished look was far from up scraped back and polished. "Don't worry about flyaways", Anthony told us. "This look is far from up tight".
“Undone But Polished” Beauty, Backstage At Balmain
March 1, 2012
The Balmain beauty look is pretty much as consistent as it gets—which is to say you’re never going to see a statement lip and an avant-garde eyeliner application here. Hair and makeup with a little rock chick, devil-may-care-attitude is more like it. “It’s even rawer than we’ve ever done this season,” Sam McKnight said of Fall’s slightly texturized strands that, for the most part, he wasn’t really tinkering with. “I do need clean hair,” he emphasized, starting with a good lathering of Pantene Pro-V Repair and Protect Shampoo, which he followed with little else. “For the girls with super-dry and frizzy hair, we’re using Magic Move,” he said, producing a jar of the Japanese hair wax that imparts a piece-y, smooth finish. “But for most girls, we’re not doing anything at all!”
Tom Pecheux’s face-painting effort was meant to look similarly modest, although even the barest of makeup looks benefits from an expert’s hand. “The collection was inspired by Fabergé eggs—so true luxury,” Pecheux explained of Olivier Rousteing’s clothes, which compelled him to keep things simple as a way of balancing out the extravagance. “Skincare is very important [with a look like this],” Pecheux explained of the toned, well-moisturized base, to which he applied select swipes of concealer where needed, as well as a “veil” of contour and a concentrated swipe of powder along the T-zone to control shine. “Balmain always gets the 25 most beautiful girls in the world, so they don’t need much,” Pecheux admitted. The one place that he did use purposeful pigment was on the brows, re-coloring the remaining few models who are still bleached from Milan and filling in sparse areas with a two-pronged approach. “The pencil corrects the holes if there are any, and the mascara paints every single hair and keeps them in the right place,” he elaborated, dipping a clean wand into light brown, dark brown, or black mascara tubes to color-match each individual model. “Even if she’s undone, she still needs to look polished.”
Backstage Beauty: Gareth Pugh Autumn/Winter 2012
By Katie Jones, Feb 29, 2012
It's not every day you hear the phrase "nun nude" to describe makeup, but Alex Box coined the term and the look backstage at Gareth Pugh's Autumn/Winter show today.
Box told us that the makeup gave a real nod to the clothes, with references to wrapping and the "ecclesiastical, 18th century quality" in the collection.
"I was inspired by the way a nun's habit cuts the face into a diamond shape... so I used milliner's elastic over the forehead to recreate the construction of a wimple".
As for the rest of the look, the skin was as flawless and fresh as it gets. Box relied on Mac's Strobe Cream to bring out an inner light under Studio Sculpt Foundation for a "dewy, virginal" finish. Futuristic Cream Cake and Pink Opal Pigment were dabbed onto the eyes before a blend of Morange and Crosswire Lipsticks, plus Lip Conditioner, were added on the cheeks.
The models' beauty look was complete with half-moon nails. (We're predicting this retro style will be a big hit this A/W). Filthy Gorgeous nail shades were used with a blend of light grey BeeBee and Thunderstorm. A matte, crackle finish was added before the nails were runway ready.
Source: stylebistro.com, mydaily.co.uk
Last edited by flyme2themoon; 02-03-2012 at 11:08 AM.
PARIS — “The hair has a kind of ninja, sumo inspiration,” hairstylist Sam McKnight said backstage before the Mugler fashion show. He fashioned a coif for numerous models with a loop at the back of their heads from which hung a very long black or a white ponytail.
“We’re not making any bones about it being fake. It’s a decoration,” he explained.
Shiny hair was achieved by using Sebastian Gel Forte.
Makeup artist Val Garland said she gleaned ideas from “all things Asiatic.”
“We’re working on a linear, Asian-inspired eye using colors white, red and black,” she said, describing a “strong, angular shape.”
Skin was left as “real” as possible and eyebrows were muted.