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23-09-2010
  31
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flyme2themoon's Avatar
 
Join Date: Jul 2005
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Burberry
burberry-backstage07.JPG burberry-backstage15.JPG
burberry-backstage16.JPG burberry-backstage18.JPG
burberry-backstage06.JPG burberry-backstage01.JPG



Quote:
THE CREDITS:

Makeup, Wendy Rowe for Burberry Beauty; hair, Neil Moodie for Bumble and Bumble; nails, Anatole Rainey

THE LOOK: Burberry girl as Bardot biker babe.

MAKEUP: “The clothes are a bit sexier this season, so the makeup is, too—but the Burberry girl is never obvious,” said Wendy Rowe of the sultry eye, fresh skin, and nude lip she gave models using the house’s coolly understated new color line. “She’s gorgeous but still a bit boyish.”

THE HAIR: “There’s a biker influence running through the collection,” said Neil Moodie, who created subtle waves from the mid-length to the ends of the hair, but left the section closest to the end straight. “I wanted the hair to look like she’d just gotten off her motorcycle and shaken her hair down from her helmet.”

THE NAILS: “It’s the classic Burberry nail,” said Rainey—also known as “the ultimate ‘no nail’ nail.” He removed all traces of polish for a clean look before stripping away “any hint of shine” with a clear, matte topcoat.

THE TOOLS:
MAKEUP:

ON SKIN: A thin veil of Burberry Sheer Foundation for a dewy glow, and the company’s contour powder “just below the cheekbones to give the girls a sexiness without a lot of makeup,” said Rowe.

ON EYES: Rowe created a taupe-colored haze around the eyes with Burberry Sheer Eye Shadow in Almond, Rosewood, and Pearl.

ON LIPS:
A dab of the company’s new concealer “to tone the natural lip color down.”

HAIR: Moodie spritzed Bumble and Bumble’s Thickening Hairspray throughout the lower length of the hair “for volume,” then added a slight bend to it with a curling iron. To create wispy pieces that would spill over the colors of Christopher Bailey’s leather-studded motorcycle jackets as models walked down the runway, he used a straight razor on the pieces at the front.

NAILS: Nail Tek Foundation II conditioned the nail while adding a matte finish.
Source: vogue.com and wwd.com


Last edited by flyme2themoon; 23-09-2010 at 12:44 PM.
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23-09-2010
  32
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Join Date: Jul 2005
Gender: femme
Posts: 3,260
Meadham Kirchhoff






Quote:
by Catherine Piercy

THE CREDITS:

Makeup, Florrie White for M.A.C.; hair, James Pecis for L’Oréal.

THE LOOK: Doll-eyed metalhead turned Quinceañera princess.

THE MAKEUP: “Ben [Kirchoff] and Ed [Meadham] showed me their mood board six weeks ago. They’d been thinking about banged-up wax dolls and old Biba makeup counters,” Florrie White said. “They liked the idea of a woman coming in and dipping her fingers into all those pots and colors and trying on everything at once.” She interpreted the designers’ charmingly kooky references as plasticized skin, painted-on lashes, and razor-drawn red lips.

THE HAIR: “The guys were obsessed with seventies horror films [Ed.: like Dario Argento’s Suspiria] and something like a Marilyn Manson follower, if you can picture that kind of intense, gothic look to the hair,” said James Pecis, who spent four days creating several dozen painstakingly perfect tie-dyed hair extensions for the show. Before models took their sherbert-tinged pink, green, yellow, and blue manes down the runway, a team of backstage dressers pinned the length of the hair to the neck beneath thin strips of velvet ribbon chokers. To crown Meadham Kirchhoff’s whimsical spring muse, Nasir Mazhar created six extraordinary handmade tiaras for the occasion—each one an utterly unique construction of smocked lace, ribbon, and crystal.

THE TOOLS:
MAKEUP:


ON EYES: To give her dolls a “dusty,” forgotten-in-the-closet look, White swirled M.A.C. Eye Shadow in Brown, Sepia, and Shell around the eyes, then drew dozens of exaggerated lashes directly onto the skin with M.A.C.’s Pentultimate liner in Rapidblack.
ON CHEEKS: M.A.C. Blushcreme in Tea Petal “on the apples.”
ON LIPS: M.A.C. Ruby Woo, followed by a coat of Basic Red Chromatin cream and Pro Longwear Lipcolour in Lasting Lust “to fix it in place and give a matte finish.”
ON NAILS: To achieve the look of glitter-dipped fingertips, White’s team mixed M.A.C. Glitter Brilliants in Silver with a clear top coat. After painting it on, they pressed more of the gleaming loose pigment particles onto the surface.

HAIR:

L’Oréal Professionnel Tecni.Art Pli Thermo-Fixing Spray, and enough hand-dyed hair extensions to service an army.
Source: vogue.com

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23-09-2010
  33
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Alberta Ferretti
alberta-ferretti-backstage16.JPG alberta-ferretti-backstage01.JPG
alberta-ferretti-backstage15.JPG alberta-ferretti-backstage14.JPG



Quote:
by Catherine Piercy
THE CREDITS:
Makeup, Lucia Pieroni for M.A.C.; hair, Guido Palau for Redken

THE LOOK:
Fairy-tale sprite meets seventies earth goddess.

MAKEUP: “She’s a girl of the earth, a woodland nymph of sorts wandering through the forest,” said Lucia Pieroni backstage. In a nod to the muted shades of sage, grass, and forest green that shot through Ferretti’s collection, she gave models hazy chartreuse eye makeup and lips toned down to a muted post-hippie pink.

HAIR: “It’s a bit bohemian, almost messy even,” said Guido Palau, who massaged the hair into perfectly chilled-out waves, working them away from the face for a casually windswept feel.

THE TOOLS:

MAKEUP:
ON SKIN:
M.A.C. Mineralize Skinfinish Natural in Medium Deep over the forehead, nose, and apples of the cheeks for a sun-kissed glow.
ON EYES: “It should look as if the color fades away toward the cheekbone,” Pieroni said of M.A.C.’s Eye Shadow in Juxt (a shimmering golden-green powder). For an otherworldly shine, she dabbed M.A.C. Pigment in Vanilla on the center of the lid and high on the cheekbones.
ON LIPS: M.A.C. Lipstick in Myth (a sheer nude) dabbed onto the mouth. “It’s soft, but the lips’ natural color should still shine through,” Pieroni said.

HAIR:
Redken Velvet Gelatine 07, new this fall, “for texture,” Palau said.
Source: vogue.com and wwd.com

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23-09-2010
  34
V.I.P.
 
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I loved the Alberta Ferretti makeup, I used to have green eyeshadow in that exact same shade and loved wearing it in the summer, just to add a bit of a twist to a simple summer look.. definitely feel like finding one again for next year.

I'm also LOVING the Prada look, it's a bit extreme and almost looks like made with a paint brush cause it's so thick but at least I like how it looks on the runway and is it just me or dark skin + silver eyeshadow is just the most perfect combination? I'm having trouble trouble finding pictures but in motion, it looked stunning on the dark-skinned models.

silver1.jpgsilver2.jpgsilver3.jpg

silver4.jpgsilver5.jpgsilver6.jpg
[style.it]

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24-09-2010
  35
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^I agree, the eyeshadow may look quite silly in the pictures but it was so eyecatching in the video. I love the inspiration they used: (vogue)




Quote:
by Catherine Piercy

THE CREDITS:
Makeup, Pat McGrath for CoverGirl; hair, Guido Palau for Redken.

THE LOOK: 1930s jazz singer does industrial decadence
MAKEUP: “It’s the idea of putting glamour on a modern woman. Playing around with androgyny, which is something we tend to do quite a lot in fashion today, but making it decadent,” said Pat McGrath. This translated to a strong brow, bare skin, and a reflective silver eye that was powerfully feminine and—like Prada’s stripped-down metal set—“quite industrial at the same time.”
HAIR: “It’s thirties. Jazz. Josephine Baker,” said Guido Palau. “Glamorous, in other words.” He kept the silhouette close to the head at the designer’s request, working it into slick marcel waves at the face before pulling it back tightly into two neatly pinned buns that sat side by side at the nape of the neck.
NAILS: Natural manicures with a hint of shine.

THE TOOLS
MAKEUP:
ON EYES: To create her gleaming sheet-metal eye on models like Jessica Stam and Jourdan Dunn, McGrath brushed layers of silver theatrical powder onto the lids, winging it out slightly onto the cheekbones before filling in the brows with pencils and powders.
ON SKIN: Sheer foundation to even out the complexion and a light dusting of powder. “There shouldn’t be any shine,” said McGrath.
ON LIPS: McGrath made a play on masculinity by muting the lips with a dab of foundation.
ON NAILS: Clear top-coat on fingers and toes provided shine.

HAIR:
Palau used Redken Super Strong Gel and Smoothing Serum for a sculpted look. Just before models hit the runway, he added a layer of Vinyl Glam 02 Mega Shine Spray to give it a slick, glossy finish.

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24-09-2010
  36
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Location: Amsterdam
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I love the looks @ Julien Macdonald
**

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Last edited by MulletProof; 24-09-2010 at 01:30 PM. Reason: Please visit Supporting Cast for model ID.
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25-09-2010
  37
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Join Date: Dec 2009
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Posts: 1,118
I love how light and glowing the Versace makeup is. These eyebrows are perfect.





Quote:
by Catherine Piercy

THE CREDITS: Makeup, Pat McGrath for CoverGirl; hair, Guido Palau for Redken

THE LOOK: Helmut Newton girl does minimalism.
MAKEUP: “It’s natural, perfect beauty at its best,” said Pat McGrath of the dewy skin, flushed cheeks, and “strong, beautifully groomed brows” she gave models. “Sexy but grown-up.”
HAIR: For the first time anyone backstage could remember, Guido Palau traded loose, perfectly blown-out hair for a slicked-back, severely chic knot at Versace. “It’s glamorous in a different way,” he said of its lacquered, almost vinyl-like sheen. “Like a Helmut Newton sort of woman. Strong, tough, a little bit dangerous.” After pinning the hair into place at the back of the head, he covered each knot with a square of black PVC fabric, then cinched it into place with an invisible band.
NAILS: Sheer, understated nude manicures.

THE TOOLS:
ON SKIN: “When the quality of the skin is perfect, you don’t need anything else,” said McGrath. She blended sheer, luminous foundation over the skin, then swirled a soft pink blush onto the apples of the cheeks.
ON EYES: For subtle definition, she shaded in the eyes with a soft brown powder, darkened the brows, then swiped mascara “onto the upper lashes only.”
ON LIPS: “Just a bit of clear balm” over models’ own natural pinkish lip color, according to McGrath.
ON NAILS: Revlon Nail Enamel in Sheer Nude on hands and feet.

ON HAIR: Palau gave hair its “patent leather” finish with Redken Hardware 16 Super Strong Gel and Glass 01 Smoothing Serum.
(vogue)

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25-09-2010
  38
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I love the make-up at Versace, perfectly simple and glowing. Did they use fake lashes? If not, what kind of mascara? (If anyone has more info than the above). Their lashes look amazing.

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25-09-2010
  39
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no wonder Julien Macdonald's models looked so good...that L'Oreal primer is FANTASTIC

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26-09-2010
  40
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Jil Sander




Quote:
by Catherine Piercy

THE CREDITS: Makeup, Peter Philips for Chanel; hair, Paul Hanlon

THE LOOK: Irving Penn muse as modern-day urbanite.

MAKEUP: “There are couture elements in the shapes, in the colors, of the collection,” said Peter Philips. “Raf wanted to keep the face very chic, very pure, but with an element of street to it. How would [the Jil Sander girl] today really wear her makeup?” He found his answer in pristine skin and shocking-pink lips. “It’s about the contradiction of that one graphic element against an otherwise bare face,” he said. The neon shade also turned up in everything from the designer’s floor-length peplum skirts to his button-down silk blouses and windbreakers.

HAIR: “It’s very ‘old salon’ so to speak—elegant without being excessive,” said Paul Hanlon of the elongated, textured buns he gave models backstage. “At the same time, I wanted it to look modern, the way a younger girl might do her version of couture hair.”

THE TOOLS:

MAKEUP:
ON SKIN: A thin veil of Chanel Pro-Lumiere Professional Finish Makeup SPF 15 to even out the complexion.
ON EYES: “Just a beige liner [Chanel Le Crayon Khôl in Clair] on the inside of the lower lids to brighten the eyes,” said Philips. “That’s it. Not even mascara.”
ON LIPS: Philips mixed a bold fuchsia lip color with a matte white pigment by hand for a shade he called “a little off, almost artificial, even, in a good way.”

HAIR: Taking a cue from the collection, which rendered haute silhouettes in airy, lightweight fabrics, Hanlon whipped the length of the hair into a gentle froth using Toni & Guy Label.M Extra Strong Mousse, then back-combed it lightly before winding it into place. He finished with L’Oreal Elnett Hairspray “to give the bun a dry, textured look that’s modern.”

SPOTTED: Models sipping espresso through shocking-pink straws to avoid ruining their perfectly painted matching lips before taking to the runway.
(vogue)

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26-09-2010
  41
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flyme2themoon's Avatar
 
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Quote:
Originally Posted by MulletProof View Post
is it just me or dark skin + silver eyeshadow is just the most perfect combination? I'm having trouble trouble finding pictures but in motion, it looked stunning on the dark-skinned models.
Silver eyeshadow, and silver in general, is always astonishing on dark skin.


Quote:
Originally Posted by sill View Post
I love the make-up at Versace, perfectly simple and glowing. Did they use fake lashes? If not, what kind of mascara? (If anyone has more info than the above). Their lashes look amazing.
The eyelashes (on the majority of the models) looked natural to me.

From wwd.com:

Quote:
CoverGirl’s LashBlast Length Mascara in Black was applied to upper lashes only to create a dark alluring eye.

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26-09-2010
  42
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Marni





Quote:
by Catherine Piercy

THE CREDITS:

Makeup, Tom Pecheux for M.A.C.; hair, Paul Hanlon.

THE LOOK: Modern-day Marni girl as madcap Amelia Earhart.

MAKEUP: “There’s makeup that’s just pretty, and then there’s makeup that makes you think,” said Pecheux of the matte skin, electric-orange lips, and arched graphic eyes he created backstage. “At Marni,” he said mischievously, “we like to twist everything.”

HAIR: With their haphazard waves spilling out of designer Consuelo Castiglioni's slim leather aviator caps, models looked like they'd just stepped off a fleet of vintage two-seater aircrafts to take the runway. “It’s kind of a mess really,” laughed Hanlon, who tied random sections into shoelace knots throughout the length of the hair, as if the wind had worked it into a hopelessly pretty tangle.

THE TOOLS:
MAKEUP:
ON SKIN: M.A.C. Sculpt Foundation and Invisible Powder “to take away the shine.”

ON EYES: After covering the lid in a matte white powder (M.A.C. White Chromaline and Gesso Eye Shadow), Pecheux drew a graphic arc of color (using M.A.C. Carbon Eye Shadow) just below the brow bone.

ON LIPS: M.A.C. Orange Lipmix and M.A.C. Frankly Scarlet Eye Shadow (at the corners of the mouth for impact).

HAIR: Hanlon saturated the hair with TIGI Bedhead Superstar Queen For a Day Thickening Spray and Frédéric Fekkai Ocean Waves for an authentically dusty texture; To give hair a slightly sweaty après-sport feel, he sprayed wayward pieces at the face with L’Oréal Elnett hairspray.

Source: vogue.com and wwd.com

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26-09-2010
  43
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Dolce & Gabbana
Quote:
by Catherine Piercy

THE CREDITS:
Makeup, Pat McGrath for Dolce & Gabbana The Make Up; hair, Eugene Souleiman for Wella.

THE LOOK:
The designers’ Sicilian sex bomb explores her softer side.

MAKEUP: “The look is very simple, very sensual,” said McGrath, who took her cue from the pristine look of the predominantly white collection. “Beautiful skin, flushed caramel cheeks, and shaded eyes.”

HAIR: “There’s more than one way to skin a cat,” said Souleiman with a laugh of the newly romantic updos he created for the designers. After pinning up the hair, he blasted it with a blow-dryer for a wispy, flyaway feel. “It should look like it’s been done by hand—twisted up at random and stuck with pins instead of anything too perfect.”

THE TOOLS:
MAKEUP:
ON SKIN:
“Coverage beyond,” is how McGrath described Dolce & Gabbana’s new Perfect Finish Concealer, which she used to erase dark circles and red spots.

ON CHEEKS: Dolce & Gabbana The Blush in Caramel “on the apples of the cheeks.”

ON EYES: McGrath dipped into an assortment of Dolce & Gabbana’s Smooth Eye Colour Duos (including the company’s shiny metallic compacts in Gold and Fortune) to achieve the perfect hazy sheer-brown shade before smoking it onto the lids. She lined the eyes with a creamy black pencil (Dolce & Gabbana Crayon Intense Eyeliner in Stromboli), then swiped on several coats of mascara (Dolce & Gabbana The Mascara in Black).

ON LIPS: McGrath swirled together red, burgundy, and plum-colored pigments from Dolce & Gabbana’s new Lip Jewels palette (four pitch-perfect lip colors in a faceted, gem-shaped red case; due out in October) and dabbed them onto the lips for a rosy glow.

HAIR: Souleiman brushed through the hair with Wella High Hair Styling Mousse before blowing it dry for added volume and texture.
Source: vogue.com and wwd.com

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26-09-2010
  44
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thank you flyme! I have been waiting for this!

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26-09-2010
  45
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Gorgeous make-up ^

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