Pop art showed up as backstage beauty inspiration earlier in the season—first at Diane von Furstenberg, by way of a vivid fuchsia lip, and then at Victoria Beckham with saturated violet lids. So when we first laid eyes on the multihued eye shadow onslaught at Christian Dior today, we assumed that Andy Warhol’s influence was lurking somewhere amid the bright pigment pots and red lipstick bullets. But there was more than just a Factory vibe at play, according to makeup artist Pat McGrath. “Technicolor Bettie Page” is how the face-painter described the bold makeup and heavy clip-on fringe she and hairstylist Orlando Pita whipped up at John Galliano’s request. For her part, McGrath turned to an assortment of CoverGirl’s Eye Enhancers in aqua, blue, red, and green for those outrageous peepers, while its LashBlast Fusion mascara, combined with a thin black liquid line—that was flicked out at the end—added extra impact. As if the lids alone weren’t vibrant enough, McGrath finished the look with a slick of Rouge Dior No. 752 lipstick, an orange-tinged crimson, that likely called to mind Warhol’s mouthy Elizabeth Taylor for the art archivists among you.
Source: vogue.it and style.com/beauty/beautycounter
Makeup, Stéphane Marais; hair, Guido Palau for Redken.
THE LOOK: Joan Jett meets early Ziggy Stardust.
MAKEUP: Stéphane Marais’s wild-child eyes—in explosive incarnations of turquoise, purple, and black— were all glam-rock attitude and late-seventies sex appeal.
HAIR: “It’s David Bowie, Joan Jett, and the rock ’n’ roll of that era, done in Jean Paul’s mix-master way,” said Guido Palau of his colorful, punkish wigs, which channeled the frenetic energy of Jett’s early career with The Runaways.
THE TOOLS: MAKEUP:
ON SKIN: With their paled-out complexions, models looked like they’d been holed up in the basement of CBGB for days.
ON EYES: Marais dipped into every kind of pot, pan, and makeup tube imaginable to create his pulsating electric lids (which spilled over amply onto cheekbones and temples), then rimmed the lashes with loads of black kohl.
ON LIPS: Lips bore the worn-off stain of a night spent wailing into the mic.
“It’s that idea of a bad at-home dye job,” said Palau, who prepped dozens of wigs—in shades that ranged from pastel purple and turquoise to platinum blonde and, of course, Gaultier red—days before the show. Once fitted onto models like Anja Rubik, Iris Strubbeger, and Karolina Kurkova, he cut them to flatter the face, and then used Redken Structure Wax on the ends for a spiky effect.
THE CREDITS: Makeup, Pat McGrath for CoverGirl; hair, Eugene Souleiman for Wella.
THE LOOK: Low-maintenance beauty does English romance.
MAKEUP: Pat McGrath stayed true to designer Stella McCartney’s effortless brand of cool with “fresh, beautiful skin,” groomed brows, and subtly flushed cheeks. “There’s a bit more blush than usual this season,” she said—a nod to the collection’s muted feminine florals.
HAIR: “You know how children have that clean, soft, fine hair?” said Souleiman of the smooth, center-parted style he gave models backstage. He added a slight wave at the ends for a “freshly washed” effect.
THE TOOLS: MAKEUP: ON SKIN: McGrath gave skin its supernatural glow with microfine layers of sheer foundation, then swept a rose-colored blush over the entire cheek.
ON EYES: “We’re just filling in the brows ever so slightly and using a bit of
brown mascara,” said McGrath, who kept the eyes deliberately minimal.
ON LIPS: To allow models’ natural pinkish lip color to shine through, she dabbed a clear balm on top.
HAIR: Souleiman sprayed the hair with Wella SP Startup spray for moisture and shine, then twisted the length of it under a diffuser to create a believably natural air-dried wave.
Makeup, Charlotte Tilbury for M.A.C.; hair, Luigi Murenu for John Frieda
THE LOOK: Sepia-tinted tomboy beauty
MAKEUP: “It’s a boyish, handsome woman, with a nod to Stella Tennant,” said Charlotte Tilbury of the dark brow, contoured eyes and cheek, and bare mouth she gave to models. Riffing off of the architectural elements spotted in the collection, she said, “I wanted the makeup to play with shadow and light, to give structure to the face.”
HAIR: “There’s a masculinity from the front and a softness from the back,” said Luigi Murenu, who gave the hair a deep side part before pulling it back tight into a girlish ballerina bun at the nape of the neck.
THE TOOLS: MAKEUP: ON SKIN: Tilbury used M.A.C. Studio Sculpt concealer only as needed, then defined the cheeks with a soft brown contour powder (M.A.C. Mineralize Skin Finish in Medium Deep, Dark, and Deep Dark). She finished by dabbing a shimmering peach-colored highlighting cream (M.A.C. Cream Colour Base in Hush) onto the cheekbones, the center of the eyelids, and the bow of the lip for contrast.
ON EYES: After blending a hazy brown cream (M.A.C. Cream Colour Base in Mid Tone Sepia mixed with Root) into the crease of the lid and along the lower lashes, she filled in the brows with a deep brown pencil (M.A.C. Eye Brows in Fling or Lingering) “for strength.”
ON LIPS: M.A.C. Lip Conditioner in Clear
HAIR: Murenu rubbed John Frieda Luxurious Volume Thickening Mousse into the hair to make it “thicker, shinier, healthier” before blowing it dry and twisting it back. “It’s simple, but it’s sharp,” he said of its slick glossy texture.
by Catherine Piercy THE CREDITS: Makeup, Peter Philips for Chanel; hair, Guido Palau for Redken; manicure, Marian Newman for Minx Nails
THE LOOK: Makeup minimalist meets harvest goddess MAKEUP: “This is Sarah [Burton]’s first full collection for McQueen,” said Peter Philips of the bare skin and luminous eyes he gave the models. “We wanted to keep it very pure, very simple.” THE HAIR: “There’s a nod to paganism…and the idea of getting back to nature,” said Guido Palau of his basket-woven hairpieces, which looked like the sewn-together husks of one’s childhood cornhusk dolls. “There are a lot of artisanal straw elements in the dresses and collars,” he added, explaining the look.
THE NAILS: Newman applied custom nails by Minx backstage. Drawing on the collection’s earthy undertones, she pressed delicate, leafy illustrations (made specifically for the show) onto some models’ fingertips, while other received textured matte-gold manicures inspired by “the element of leather that runs through the clothing.”
ON SKIN: “It’s very natural,” said Philips, who used sheer foundation and concealer as needed. ON EYES: Philips rimmed the inner lash-line with soft beige pencil (Chanel Le Crayon Kôhl in Clair) “to open up the eyes,” then dusted a glimmering off-white pigment over the lids (Chanel Soft Touch Eyeshadow in Ivory). He finished by dabbing light-reflective highlighting powder (Chanel Pearl Glow Powder) high on the cheekbones to catch the light. ON LIPS: “Just a touch of shine,” said Philips, who rubbed on a clear balm. “No tricks!”
It took hundreds of cans of Redken Forceful 23 Strength Finishing Spray to create models’ woven patchwork look.
“It was clear that we would put the focus on the eyes,” Peter Philips said of the smoldering lids he conceived for the house’s Spring show yesterday, inspired by a Karl Lagerfeld sketch that was heavy on the smoke. The shadow Philips used backstage was more intricate than mere shades of layered obsidian pigments, though. “The color came from the black-white-green French garden that was re-created in the Grand Palais,” Philips, Chanel’s global creative director of makeup, told us. Hence the luminous, emerald-tinged onyx shade from the brand’s Les 4 Ombres Quadra Eye Shadow in Regard Perle that he dragged up to the brow bone and underneath the lower lash line. The resulting “glow” was meant to mimic the black, gray, and white pearls in the presentation’s bounty of costume jewelry.
Chanel’s Le Crayon Kohl eyeliner pencil in black and a few lashings of its mascara added drama to the look, which was softened by clean skin highlighted with touches of Chanel’s Poudre Lumiere Perlée, a finishing powder with a touch of shimmer. A “dewy” lip came courtesy of Rouge Coco Shine in Boy, a rosy pink. To add a graphic, unexpected element to the whole thing—a Philips signature that we appreciate season in and season out—the face painter drew a thin, precise black line down the lengths of hairstylist Sam McKnight’s middle parts with L’Ecriture de Chanel, its best-selling liquid pen liner (supers like Stella Tennant and Carmen Kass got side parts while longtime Lagerfeld muse Inès de le Fressange’s fringe and bob were left to their own devices). It’s a technique we already saw once this season at L’Wren Scott, where Aaron De Mey dusted vivid shadows onto models’ scalps, but the precision of Philips’ stark line had an entirely different, polished effect. Manicures with Chanel’s shimmering asphalt polish, Black Pearl—the new-for-spring cult color that you likely already want to own—added to the intrigue, which, for the record, managed to hold our attention as all 80-plus models worked the room.
Source: vogue.com and style.com/beauty/beautycounter
Makeup, Pat McGrath for Cover Girl; hair, Guido Palau for Redken.
MAKEUP: “Glamorous but minimal” is how Pat McGrath described models’ erased brows, fresh skin, and severely chic burgundy-red lips. “I mean, this,” she said, gesturing toward mannequin (and new Yves Saint Laurent face) Ginta Lapina’s finished look, “is luxury.”
HAIR: “It’s charged, powerful, sculpted,” said Guido Palau of models’ slick “inside-out” French rolls, which wrapped around the length of the head. “There’s a highly sophisticated seventies/forties Saint Laurent thing going on in the hair . . . something familiar and something that’s not, which is always exciting.”
ON SKIN: McGrath gave skin a fresh, youthful glow with fine layers of sheer foundation.
ON EYES: After bleaching away the brows, she dabbed Elizabeth Arden Eight Hour Cream on the lids for a bit of sheen, then left the lids completely bare.
ON LIPS: McGrath mixed multiple pigments by hand to achieve the perfect dark wine-colored pitch, then drew it on with a brush for precision.
ON NAILS: Like their lips, models’ inky purple manicures (in YSL La Laque #40 on hands and feet) looked vaguely dangerous.
HAIR: To give hair its glazed finish, Palau saturated it with Redken Hardwear 16 Gel, parted it starkly down the middle, then rolled the length of it upward and inward on itself before pinning it tightly to the scalp. He finished by misting hair with Redken Forceful 23hairspray.
I love Cynthia Rowley's look. I love the bold red lips and heavy under eye mascara. I'd love to do an interpretation of the makeup. I need to experiment with color since I'm use to doing minimal/natural looking makeup.