Narciso Rodriguez Makeup: Dick Page
Hair: Paul Hanlon
“Untouched” Makeup And Easy Hair, Backstage At Narciso Rodriguez
February 13, 2013
Narciso Rodriguez may increasingly be experimenting with color in his collections, but the complementary hair and makeup looks at his shows seem to be getting more and more stripped down in the process. Citing the success of Spring’s fresh, transparent face, Shiseido artistic director Dick Page confirmed that Rodriguez was keen on a repeat appearance. “I went to look at the clothes, and Narciso said, ‘I really loved how the girls looked last season. Can we do that again?’ I said sure. If it ain’t broke, don’t fix it.”
“It’s almost untouched,” Page elaborated of the nearly nude faces. “For a lot of women, it’s not enough,” he joked of the light-handed approach for which he swiped lids with the brown shadow from Shiseido’s limited-edition Eye Color Bar, while giving brows a “sketch of color” and definition with its Eyebrow Styling Compact. As he dabbed lips with its forthcoming Perfect Rouge lipstick in Harmony, a dark crimson, he asked, “So if you didn’t see that happen, you wouldn’t think she was wearing lipstick, right?” In fact, every model looked as though she was sporting a slightly tinted balm rather than full-on color. Sticking to the theme of simplicity, cheeks got a customized dusting of Shiseido’s Luminizing Satin Face Color while nails were kept short, round, and varnished with two coats of Deborah Lippmann’s ultra-sheer nude polish in Naked.
Paul Hanlon also picked up where he left off for Fall, bringing a certain ease to the hair as Rodriguez’s newly installed lead hairstylist. Creating imperfect center parts, Hanlon gave models smoothing blow-outs before applying a mist of hair spray to help slick strands behind the ears. Lengths were given a slight bend to create movement, but the key was to not do too much, thus letting Rodriguez’s traditionally understated clothes make the statement.
Chado Ralph Rucci
Makeup: Tom Pecheux
Hair: Laurent Philippon
February 12, 2013 Architectural Beauty at Chado Ralph Rucci
By Belisa Silva
Beauty was graphic and strong backstage at Chado Ralph Rucci.
The dramatic, aerodynamic updo, created by Laurent Philippon, for Bumble and bumble, was meant to resemble “architecture” and “sculpture.” To create the style, Philippon began by blowing out hair with a “ponytail blow dry.” He then sectioned hair into two parts, divided horizontally, back-combed and sprayed heavily with Bumble and bumble Does It All. The bottom was then secured with a bungee and the ponytail was braided about two inches. Pins then secured the braids into a horizontal crown shape, which became the base, or “bridge” of the look. Next, the top section of hair was braided and tucked under itself. To keep things in place and to get an “entirely wet” effect, Philippon used generous amounts of Bumble’s Spray de Mode.
Faces, created by Tom Pecheux for MAC, were meant to match hair’s drama. “The whole look is all about being very architectural,” Pecheux said. “Ralph Rucci is known to be an amazing couture designer and his pieces, especially in the winter time, are very graphic and that’s what we wanted to bring.”
At the focus of the look was a strong eye, which featured an extended “powerful black line,” created with MAC Blacktrack Gel Eyeliner. “It’s a strong girl, not an all old antique look. It’s very couture.” To create the exaggerated lined look, Pecheux began by framing eyes on the top and bottom, then extending the lines for drama. “It’s a lot of work but its just those perfect lines, we are extending it quite a lot because also I think it’s dynamic so people sitting in the audience will see the incredible eye and chignon.” Each girl was given false lashes, eyebrows were kept natural and skin was given a matte satin finish. Cheeks featured “a bit of contour and a bit of highlight” and lips were left “natural. We wanted a cool girl not too lady like,” he said.
When asked about personal beauty techniques, Pecheux revealed that he likes to massage models’ faces before applying makeup. “I always try to give love to the girl. It’s good treatment, they relax,” he said. “The type of life they have, running around, so we try to give them a bit of love.”
Looking forward to fall, he said, “I think what is going to be interesting are the contrasts. Contrasts of texture, contrasts of color; like nude and black, matte and metallic, satins. I think [contrasts] are going to give the richness of the winter.”
Nails were kept “simple but expensive looking,” featuring either a soft pink or soft tan shade by Essie. Hands featured either Mademoiselle, a light pink color, or Sand Tropez, a natural sand hue, to keep nails “neutral.”
February 12, 2013 Wicked Meets Whimsy Backstage at Thom Browne
By Belisa Silva
Sil Bruinsma for MAC was inspired by Marie Antoinette for the theatrical look backstage at Thom Browne. The look, which also alluded to the Queen of Hearts, featured alabaster faces, created by mixing white Face and Body Foundation and Studio Fix Fluid to “white out the skin” with Porcelain Set Powder and Studio Fix Pastel in Shivering White, which were pressed into the skin to mattify it. Apples of the cheeks featured the bright crimson matte Powder Blush in Frankly Scarlet, which was applied in circular strokes. Lips were given a “centered petal shape,” created with MAC Lipstick in Ruby Woo, which was brushed onto the lips with the tapered-for-precision 316 Lip Brush. Pigment in Basic Red was dusted over the lips to keep the shade intense.
Finally, for a touch of illumination, Bruinsma used Prep + Prime Highlighter in Radiant Rose on the eyelid.
Hair had an equally French, fairy-tale flair. Oversize bouffants, styled by Jimmy Paul for Bumble and bumble, were meant to resemble “a bird’s nest.” To that end, updos were decorated with embellishments of flora and fauna, from whimsical rose details to brambly wooden crowns. To create the style, Paul first brushed hair straight, layering on Thickening Hairspray, Hair Powder and Does It All Styling Spray to infuse it with texture.
He then “rough blow-dried” and teased hair in sections to continue building volume. Next, Paul created a double French twist at the bottom section of hair by taking in the sides and leaving the top section free, which was made as “big and as solid as possible.” To “secure the shape,” Paul used a large mesh hair donut.
Nails, which resembled sharpened crimson talons, were created by Julie Kandalec for Maybelline Color Show. Kandalec used bright true-red shade, Keep Up the Flame, and affixed pointed tips to complete the “wicked fairy tale” beauty look.
Makeup: Tom Pecheux
Hair: Guido Palau
February 14, 2013 Backstage at Ralph Lauren
By Julie Naughton
Ralph Lauren’s classic all-American beauty look was front and center at his runway show.
“There’s an ease to it,” said Guido Palau, working with Redken at the show. “It’s American luxury.” Palau kept things simple with a ponytail, as many of the numbers called for hats. After working Redken’s Satinwear through the hair with his fingers, he used his fingers and a blow-dryer to create a tousled look, then gathered hair into a ponytail, wrapping a small section of hair over the elastic band. He left a few pieces loose for movement as the models walked.
Tom Pecheux also opted for minimalism with the makeup. “We tried a heavy eye, but it didn’t work with the clothes, which have an opulent Russia-meets-Les Misérables feeling,” said Pecheux. First he prepped skin with concealer and a minimal amount of foundation. After adding a bit of peach blush low on the cheek — “I don’t want it to look too girly” — he turned his attention to the eyes, using MAC Haute and Naughty black mascara. After lightly emphasizing the brows with pencil or shadow, depending on the model, he turned his attention to the lips. Models with a naturally rosy lip color got an application of Estée Lauder lipstick in Beige, while those with paler lips got an application of MAC’s Runway Hit lipstick with the Estée Lauder Beige on top of it.
February 14, 2013 A Sixties Beauty at Anna Sui
By Jayme Cyk
New Wave French films from the Sixties set the scene at Anna Sui.
“The main inspiration is a strong face,” said Pat McGrath for Cover Girl. Creating a Sixties cat eye, she applied a black pencil along the eyelid. She exaggerated the graphic shape by increasing the width and leaving the tip about a half-inch from the brow. On the bottom lash line, she again used a black pencil to generate a dotted line. “Looking at the colors in the collection, they were very rich,” said McGrath. “Anna wanted a monochromatic face.” To top off the lip, McGrath applied a blush-colored gloss.
“We found a picture of Catherine Deneuve from the Sixties,” said Garren of Garren New York Salon. “She used to pull her hair up into a ponytail, then she would tease it and then she would flip it. So we said how do we want to do this differently?” Pulling the hair back into a ponytail and rolling it under into a big bouffant was Garren’s interpretation of Deneuve’s look. “It looks fresh and young,” said Garren, “and it gives it that Sixties vibe.” The girls with shorter hair were given full frontal bangs and hair was teased at the crown.
To finish, nails were completed with a golden glitter shade from Anna Sui’s cosmetic line.
Makeup: James Kaliardos
Hair: Odile Gilbert
“Rocker Princesses” Unite, Backstage At Rodarte
February 12, 2013
Wearing makeup to the beach is a questionable move, although if you grew up in a NorCal surf town, like Rodarte’s Laura and Kate Mulleavy, it was probably also hard to avoid. “It’s the idea of mascara that has been applied on the beach,” James Kaliardos said of the makeup look he created for the sister duo’s Fall Santa Cruz-themed collection. “It’s a bit messy,” he continued, “as if it fell onto [models'] faces.”
Dusting lids with NARS Single Eye Shadow in Bengali, a matte dark brown shade that Kaliardos swept underneath the lower lash line as well, he worked its forthcoming Eye Paint in Mesopotamia, a similar shade, through the crease to provide a little slip. Then, taking NARS’ as-yet-unreleased Larger Than Life Long-Wear Eyeliner in Via De’Martelli, a dark chocolate, he dotted on a chunky, “speckled” bit of pigment for a haphazard effect. NARS Larger Than Life Volumizing Mascara added additional dimension to lashes while its Velvet Matte Lip Pencil in Belle de Jour gave pouts a subdued nude finish.
Odile Gilbert was going for a “rocker princess” look, which she achieved by building a “cool, undone” texture into models’ manes. Prepping hair with John Frieda Frizz-Ease Curl Reviver Styling Mousse, Gilbert took strands through a two-inch curling iron to create a loose bend. Brushing out the waves for a more natural appearance, she created interwoven plaits on either side of the head, which were joined together in a rosette that segued into a single braid in the back. Using Frizz-Ease Hair Serum Thermal Protection Formula on the ends to create piecey separation, Gilbert crowned select models with barbed-wire headbands, including Nadja Bender, Irina Kravchenko, Kate King, and Tilda Lindstam.
The designer-beauty collaboration is certainly nothing new, but it has remained unmined by Rodarte’s Laura and Kate Mulleavy. Sure, there was that ill-fated MAC collection inspired by Juarez, Mexico, three years ago, but that’s ancient history now. Onwards and upwards to a nail partnership, as they say. For the first time ever, the design duo has teamed up with Sally Hansen to create three exclusive polish shades to complement their Santa Cruz-inspired Fall collection. But rather than revisit their eighties-era youth via outlandish varnish hues, the Mulleavys devised a relatively subdued palette for the season, including the creamy neutral Stocking Nude, which Sally Hansen nail ambassador and celebrity manicurist Tracylee topped with metallic French manicure tips in Gold Roses, a rose gold, and Platinum Star, a silver. You may need a certain constitution to pull off one of those tie-dyed bodysuits, but the lacquers should have more mass appeal when they launch later this year.
Makeup: Diane Kendal
Hair: Paul Hanlon
“A Bit of a More Feminine Approach,” Backstage At Proenza Schouler
February 14, 2013
The Proenza Schouler woman has such a signature low-key beauty look that we often wonder if Jack McCollough and Lazaro Hernandez even have to instruct hairstylist Paul Hanlon and makeup artist Diane Kendal what to do at this point. Following a few twists and turns at the preshow test for Fall, however, it turns out there was, in fact, a specific directive: “They asked me to do the hair I did for them two seasons ago,” Hanlon revealed backstage.
For those of you who need a refresher course, that was the season Hanlon coined the term “skinny hair,” for which he washed every girl’s locks on site, to start with the most natural texture possible, before removing excess volume and weighing strands down with product. “They’re architectural couture clothes for Fall, but there’s a reality to them, so we don’t want the hair to look too groomed,” he explained, coating strands with Frédéric Fekkai Coiff Perfecteur Anti-Frizz Silkening Crème to create a “lank” effect before applying its Defense Pre-Style Thermal/UV Protectant to add moisture. Then, fashioning side parts that he tucked behind models’ ears, Hanlon applied a liberal amount of its COIFF Oceanique Tousled Wave Spray to add a “roughness, like if the girls had been wearing a beanie.”
Kendal wasn’t so much told to re-create her work from past shows, but she’s become so adept at channeling the design duo’s downtown cool aesthetic that it’s almost second nature at this point. “This season is a riff on classicism, so it’s a bit of a more feminine approach for them,” Kendal pointed out, “but they still wanted their girls to be their girls.” Cue the perfected complexions with MAC’s Studio Fix Powder for a velvety base, the boyish brows that were brushed up with its Clear Brow Finisher Wax, and a fine stroke of black cream shadow drawn against the upper lash line in lieu of mascara. There was one new development here, in the form of MAC’s Red Statement Lipstick from its forthcoming Fall Trend palette, which Kendal applied to cheeks as a transparent blush. “But it’s very sheer, so you can’t really see it,” she assured us.
Makeup: James Boehmer
Hair: Rolando Beauchamp
February 14, 2013 The 1920's Lady at Naeem Khan
By Olivia Landau
“The inspiration for today is a strong lady in the 1920s,” said James Boehmer, director of global artistry for Nars. “Similar to Lady Mary from Downton Abbey.” The eyebrows were the focus of Tuesday’s look. Using Brow Perfector Pencil, Eyeshadow in Coconut Grove and Brow Gel, Boehmer created a thick, defined brow. To showcase the eyes, he smudged Duo Eyeshadow in Pandora on the bottom. Next, Boehmer used Duo Eyeshadow in Alhambra to highlight the corner of the eyes and center of the lips. To finish, he topped off the cheeks with a bit of Blush in Zen, and applied Larger Than Life Volumizing Mascara to the lashes.
“The look is centered around finger waves,” said Rolando Beauchamp, head stylist for Bumble and bumble. To achieve the 1920s-inspired style, Beauchamp used Bb Prep and a healthy amount of Bb Gel for a sleek finish. He completed it by deeply parting hair to the side and created finger waves around the face. The hair was then tied into a low ponytail, braided and secured into a bun.
“Today we went for a vampy red nail that we are calling ‘Devil’s Red,’” said Michelle Saunders, for Essie. To achieve the custom color, Saunders started with a coat of Licorice and then layered the nail with a coat of Bardot. “The color really complements the entire collection’s 1920’s embellished feeling,” said Saunders.
“Block” Eyes And Sleek Severity, Backstage At Michael Kors
February 13, 2013
We’ve become accustomed to seeing Michael Kors’ woman with a sun-kissed glow from her time spent skiing or on safari, so when we spied a graphic black cat-eye backstage for Fall, makeup artist Dick Page immediately had our attention. “I met with Michael and Paul Cavaco, who styled the show, and amongst other things was the idea of an uptown girl heading downtown to party, or the club kid going up to Mr. Chow’s for dinner”—a good old-fashioned dose of culture-clashing, if you will.
After perusing a selection of reference pictures, the Shiseido artistic director decided to focus on an eye, but not just any eye. “I played for a while and ended up with this block shape, which we thought was just more interesting than smoky, winged, etc.” Using Shiseido Shimmering Cream Eye Color in Caviar to build the shape from the center of the lid outward, Page diffused the pigment with the powdery onyx and shimmering pink shadows from its forthcoming Eye Color Bar, creating a sheered-out rectangle. Adding a highlight to the inner corner of the eye and the brow bone with its Shimmering Cream Eye Color in Pale Shell, a champagne, Page placed a luminescent glow beneath the lower lash line on the high point of the cheekbones for contrast. Beefing up the outer third of the upper lash line with a liquid black liner, Page swiped on a few coats of mascara before toning down lips by sponging on a mixture of Shiseido’s Benefiance Lip Balm mixed with foundation.
Complementing the urban-chic makeup were Orlando Pita’s sleek, high ponytails—which every girl, Karlie Kloss included, received. Designers have taken something of a “come as you are” approach to the bevy of catwalkers who cut their hair short last season, but not Michael Kors. If you enlisted in his runway army, you did so knowing that you were fighting for uniformity.
Makeup: François Nars
Hair: Guido Palau
Marianne Faithfull Meets Joan Jett, Backstage At Marc Jacobs
February 15, 2013
Upon arriving backstage at Marc Jacobs, editors were herded into a small white room turned molten orange with a smaller version of the Olafur Eliasson-inspired “sun” that Jacobs used in his show. The point: to illustrate how the makeup that François Nars designed for the occasion worked in the sepia tone and the regular light when the effect was turned off. “We needed something that would look good in both,” he confirmed of the purposefully black-and-white design.
“We looked at a lot of reference pictures of Marianne Faithfull and Joan Jett,” Nars said, speaking to the “underground, rock ’n’ roll” quality of the heavily rimmed eyes that he lined with his Eyeliner Pencil in Black Moon before topping that with the forthcoming Eye Paint in Black Valley and his Eyeshadows in Pandora and Bengali. The inner rims were traced with a pure white pigment to create a wider appearance, while lashes were treated to multiple strokes of his Larger Than Life Volumizing Mascara. “This is the way Marc likes his models,” the makeup artist continued, working on a perfectly matte complexion using NARS Radiant Cream Compact Foundation. “I didn’t want any shine,” he explained, as not to pick up a streaky pallor from the light—except on lids, which got a slick of his Triple X Lip Gloss before models hit the catwalk. Arches were groomed and filled in with Nars’ Brow Perfector in Kalamata, a dark brown, so they were still a visible force beneath models’ uniform fringe. “We’re making them all brunettes,” he joked.
Although it was Guido Palau, in reality, who was turning every model a shade of chestnut in varying degrees of darkness. Palau was a bit less forthcoming with his reference points, calling out “cool girls” in the nineties, an old Kim Pierce Vogue Italia shoot, and the model Edie Campbell, whose hair he cut short for an editorial back in November. But to be fair, the Redken creative consultant was swamped. While all fifty-five wigs were cut before the show, Palau hand-shaped each one with a razor, on every single model, to tailor it to their head and face shape. To get the “raw, real” texture he was after, he prepped the hairpieces with Redken Guts 10 Volume Spray Foam to create a “choppy, spiky” effect before adding a few concentrated spritzes of its Shine Flash 02 Glistening Mist for a wet-looking finish. “[I wanted it to have] a sweaty feel,” he said, placing a wide black band on top of freshly trimmed bangs. The models, who had assembled backstage at the Armory a cool six hours before showtime, seemed to dig it. “I’m thinking maybe a mullet next,” hair chameleon, and Jacobs’ muse, Ruby Jean Wilson exclaimed.
Moschino Cheap & Chic Makeup: Hannah Murray
Hair: Sam McKnight
February 16, 2013 ‘Punk Couture’ at Moschino Cheap & Chic
By Stephanie Hirschmiller
LONDON — For MAC makeup artist Hannah Murray, the Moschino Cheap & Chic makeup was all about punk. “The girl this season has more attitude than last season; she's tough she's cool, she's punky, so we wanted bold black PVC accents,” she explained.
One look was built on fresh, luminous skin and a chalky pink cheek tying in with the colors of the collection. Eyes were bare. A black lip was created using Kohl Power pencil in Feline and Black Lipmix.
The second look was the reverse with the drama played out in the eyes, which were rounded into an almond shape with a clean line. “I used the Graphblack Pencil to sketch the shape and went over it with Fluidline gel liner in Blacktrack,” Murray explained. She added Lip Glass clear gloss on both eyes and lips.
Hair was in a similar vein. “The reference was punk couture so there's an element of punk albeit a really young youthful version; it's inspired by rock 'n' roll punk mixed with haute couture,” said Sam McKnight.
He wanted the girls to look as if they had done their hair themselves and used black elastics and pins to secure messy knots he created with two layers of Pantene mousse — rough dried to create volume. He finished the look with some soufflé on the ends to take away dryness. Most of the girls had dark hair, but he ran a baby pink shade through the tresses of the three blondes.
Makeup: Val Garland
Hair: Martin Cullen
February 16, 2013 Grunge Goes Deluxe at Julien Macdonald
By Stephanie Hirschmiller
LONDON — The beauty look at Julien Macdonald was dead specific. “We were feeling a soundtrack of Marilyn Manson and an early Nineties woman epitomized by Stella Tennant - as shot by David Simms for ID Magazine,” said makeup artist Val Garland. In other words, it was all about grunge deluxe created using L'Oréal BB and CC creams for a flawless finish to the skin with contour and highlighting, but no blush.
For the eyes, “We used a waxy crayon in a really intense grey - up close to the lash line - and blended it to the brows which we brushed up for a boyish feel,” Garland said. Lips remained natural with just the hint of a stain.
Martin Cullen's hair had a dirty texture, “like when you've been on a night out, got home at 6 a.m. and your hair's stuck down with sweat,” he laughed. He created the look using L'Oréal's Matt & Messy Salt Spray and Architectural Shine Wax to separate it at the front.
Nail artist Lisa Smith used L'Oréal’s Diamond Lurex for a “nonchalant look that was not too dark and edgy.”