MAKEUP: Luc Bouchard for MAC Cosmetics HAIR: Rodney Cutler for Cutler Salon SNAPSHOT: Natural Instincts
THE SCOOP: Tadashi Shoji's Spring 2011 presentation celebrated the return of the lady with perfect cocktail attire trimmed with metallic accents, lots of muted purples and browns, and elegant overlays of creamy lace. From a beauty perspective, makeup was kept natural to match the soft, sensual, and modern nature of the clothing. Luc Bouchard affirms that Tadashi has "Beautiful, flowing dresses, so I didn't want to compete with that," when creating the makeup for the show. For hair, Rodney Cutler told StyleList that 'The style is sort of like a bun a girl could do herself, but Tadashi wanted a little romantic feel in the front," which resulted in a slightly undone, wavy effect.
GET THE LOOK-MAKEUP: All makeup by MAC Cosmetics. Start with Face Protect SPF 50, then add Bronzer Powder in Give Me Sun, or mix it with a Mineralize Powder over both eyelids and face. Use just a bit of Mac Blush in Dainty or a Cream Blush in So Sweet, So Easy. Next, add Opulash mascara in black on the top lashes only, and finish off with the Lip Pencil in Chicory and the Pro Longwear Lip Creme in Unlimited. Bouchard said that this look is incredibly easy to duplicate and wear, with the bronzer being the key to getting the look.
GET THE LOOK-HAIR: Cutler says this look is epitomized by "a dry, airy texture and the idea that you just threw it up," so it's a simple process to duplicate. First, make a bottom ponytail (you will do two), and take the remaining top section, setting it in diagonal curls at the roots. Make the second ponytail with the leftover curled hair right after you twist and secure the bottom portion. Once you have another ponytail, roll it under into a knot.
Hair for Cristian Siriano’s spring showcase matched the multicultural feel of his line. “I wanted to create a giraffelike neck,” said Antoinette Beenders, who styled hair for Aveda. After pulling it back into a high, tight ponytail, Beenders infused micro crimps into hair for structure. She then twisted it into a “tribal bun, ” using bobby pins and Aveda Control Force Firm Hold Hair Spray for hold. Finally, Beenders applied Aveda Brilliant Spray-On Shine into the bristles of Aveda’s Uruku Bronzing Brush and “painted” the sides of the style for a high-shine finish.
Makeup, done by Polly Osmond for Victoria’s Secret, was “nomadic” and windswept. “We created a red bronze burnt cheek and used a dark brown shadow on the upper eyelid,” said Osmond, who finished by adding a clear gloss atop the warm eye color.
Lips were coated in a pale gloss and mascara was used on top lashes. “These are dark summer colors,” said Osmond. “This is a girl who goes from place to place, from festival to festival. She is free spirited.”
by Catherine Piercy THE CREDITS: Makeup, Christian McCulloch for M.A.C.; hair, Ted Gibson for Ted Gibson Salon; manicure, Nonie Creme for Butter London.
THE LOOK: Michelle Pfeiffer in Scarface-meets-Halston neophyte.
MAKEUP: “The girls from Vena Cava are not afraid of a little color-blocking,” said McCulloch laughing of the models’ heavily contoured peach cheeks, smoky midnight-blue eyes, and blotted on poppy-blotted lips—a nod to Pfeiffer’s role in the iconic 1983 film.
HAIR: Hairstylist Ted Gibson found inspiration in Vena Cava’s long, languid skirts and dresses, which recalled the easiness of seventies-era Halston. “The women wore those incredible buns,” he says of the low, smooth style he created before tying black- or poppy-colored scarves over the crown to resemble a headband. “But we backcombed the hair at the base for texture to keep it modern.”
MANICURE: For a “graphic” take on the classic forties half- moon nail, manicurist Nonie Creme used two coats of Yummy Mummy lacquer followed by a glossy black semicircle in Union Jack Black. “The nails are short,” she says firmly.
THE TOOLS: ON LIPS: M.A.C. Morange and Neon Orange lipstick. “We tried red and brown first, but that coral orange just felt right,” says McCulloch, who blended the shades together before pressing them onto the lip with his fingertip.
IN THE HAIR: Ted Gibson Tame It Shine Lotion and Beautiful Hold hairspray.
ON THE NAILS: Butter London Yummy Mummy and Union Black Jack nail lacquers.
HAIR: Odile Gilbert for Aveda MAKEUP: Diane Kendal for Shiseido NAILS: Jan Arnold for CND
THE SCOOP: Keeping in tune with his natural flair for experimenting with color, Jason Wu drew inspiration for his ladylike designs from Brazilian artist Beatriz Milhazes. The beauty teams pulled aspects from the painter's abstract, dual dimensions artworks and created hair and makeup masterpieces.
Odile Gilbert perfected a youthful braided chignon that was intertwined with ribbon taken straight from Wu's collection. She compared the 'do to the effervescent hairstyles West Indian girls flaunt. "I was in the Bahamas with a camp of kids and there were young girl with sophisticated hair and I'm bringing that in here," she says. "I like to have a touch of color in the hair." Lead makeup artist Diane Kendal mimic Milhazes' swirls by smoothing on eye-popping eye shadows in purple, turquoise and green. And CND Founder Jan Arnold rounded out the looks by painting the models' nails with in Veronica from the Jason Wu and CND Nail Color Collection, which debuted today with show attendees each receiving a set. "It's a beautiful, rich opaque red. There's a lot of blue in it, but there's also a dash of orange. So, I think it works for every skin tone," she told StyleList.
GET THE LOOK - MAKEUP: Makeup by Shiseido. To recreate the purple eye makeup look above, smooth on a purple cream base like in the outer corner, blending in and over outer eye. Apply a deep purple pigment on outer corner and top with a violet pigment, puling out at the corners and blending with a clean brush. Line under eye with rich purple eye pencil and blend. Smooth on black cream liner to top and bottom of lash line and coat top lashes with Mascara. Brush on Shiseido Luminizing Satin Face Color in PK 304 Carnation on cheeks and temple. Finish with a nude lipstick.
Source: vogue.com (photos) and stylelist.com (text)
Last edited by flyme2themoon; 10-09-2010 at 11:36 PM.
by Catherine Piercy
Makeup, Charlotte Willer for Maybelline for New York; hair, Neil Moodie for Bumble and Bumble.
THE LOOK: Youthful, fuss-free beauty
MAKEUP: “Effortless is the key word here,” says Willer, who took her cues directly from the collection (“short little dresses that you slip on and go”) when dreaming up the look. The result—flushed cheeks, healthy brows, and softly stained lips—“is about highlights, innocence, looking like you’ve got nothing on.”
HAIR: “It’s the untouched hair of a David Hamilton photograph,” says Moodie of the models’ smooth, low ponytails. He blew the hair straight back before fastening it with a clear elastic band at the nape of the neck but left “a few little flyaway pieces” at the crown. “It shouldn’t look overworked,” he says.
MAKEUP: ON SKIN: Maybelline Instant Age Rewind Primer and Mineral Power Illuminator in Pink (on cheeks), to enhance models’ natural features. ON BROWS: Willer finished by softly shading in brows with the brand’s Define-a-Brow pencils. “They sharpen automatically, which is genius.” ON LIPS: Color Sensational Lipstain in In the Buff.
A Mason Pearson brush; Bumble and Bumble Tonic Lotion. “It’s a detangler with tea tree oil, which gives hair a natural-looking shine,” says Moodie.
Last edited by flyme2themoon; 11-09-2010 at 04:39 PM.
Makeup, Gucci Westman for Revlon; hair, Guido Palau for Redken; manicure, Jin Soon for Sally Hansen.
THE LOOK: Rugged polish
MAKEUP: Gucci Westman took inspiration from early photographs of Linda Evangelista by Peter Lindbergh—“raw, sexy, and beautiful,” she says—and Peter O’Toole’s kohl-rimmed eyes in Lawrence of Arabia. It translates to luminescent skin with flushed cheeks; soft eyes smudged with earth-toned cream shadow and finished with a swipe of black mascara. The brows were slicked upward “to make them look wet, like she just got splashed,” says Westman. “I wanted the models to look like girls who were on an adventure. It’s how you would want to look in the morning after camping.”
HAIR: Palau’s upswept ’do—accessorized simply with a black cotton headband from American Apparel—is faintly reminiscent of Rag & Bone’s Fall/Winter show: “It’s still a bit grunge-y; there’s that sense of rebellion, but this time it’s less urban and more like she’s been traveling, hiking, and sweating!” he says. “It’s not a knot, and it’s not a twist. The hair is just smooshed about and then pinned.”
MAKEUP: ON EYES: A brow-brush spritzed with Redken hair spray and a touch of Elizabeth Arden Eight Hour Cream are the secrets behind Westman’s “wet” brows. “It makes them feel real; it’s just a new take on the brows,” she says. Blended with her fingers around the eyes: Revlon’s Multi Use Palette in Suede Rhapsody. ON CHEEKS: Revlon Cream Blush in Berry Flirtatious: “Just to give a little life!” ON LIPS: Westman’s Fashion Week must-have, Revlon’s limited-edition ColorBurst Lipstick in Fashion’s Night Pout, a creamy nude. ON NAILS: Sally Hansen Complete Salon Manicure in Peachy Keen.
A flurry of spritzes from Redken’s Extreme Anti-Snap Leave-In Treatment and Glass 01 Smoothing Serum, plus liberal sprays of good old H20 kept models’ hair looking damp.
Last edited by flyme2themoon; 11-09-2010 at 04:39 PM.
MAKEUP: Val Garland for MAC Cosmetics HAIR: Bok-hee for the Antonio Prieto Salon HAIR COLOR: Aura Friedman for Wella SNAPSHOT: A (subtle) walk on the wild side
THE SCOOP: Cynthia Rowley isn't afraid to take risks -- for Fall 2010, she wowed us with blue, crimped hair extensions -- and she pulled out all the stops again with her carefully curated Spring 2011 hair and makeup. Cynthia was even on hand backstage looking over the hair in the final minutes before the show and giving feedback to Bok-hee as she created the artful twist, topped off with one to two large metallic clips. Working with Aura Friedman to provide custom metallic extensions for the show, the hair was a highlighted masterpiece of soft, gilded shades that complimented the grays, oranges, and blushes found in the collection. For makeup, Val Garland said that when Cynthia shared the clothes with her and asked her what she was seeing, she immediately replied, "Carnaby Street, Mary Quant, and Twiggy," but strove to give it a modern update via heavily mascaraed lower eyelashes and a bold, blaring lip.
GET THE LOOK-MAKEUP: All makeup by MAC Cosmetics. Garland says this look could 'absolutely translate' to everyday, but the mascara effect is very important, so do about six strokes on the lower lashes of Zoom Lash Mascara, and if the makeup isn't sticking, wet a bit of translucent powder and apply it via a mascara wand to the lower lashes to help it adhere better. Don't put any mascara on the top, however, and be sure to apply blush to will give the effect of being a tad flushed, "like a girl just came off the dance floor." Blush in Brit Whit was used for this show, and on the lips, Strut Your Stuff lip gloss was applied to look slightly smudgy, and brushed out at the edges to look like "you had just been kissed."
GET THE LOOK- HAIR: For the color, Friedman says the shiny, iridescent hues of metallic, infused with violet and pink tones, can work for anybody, and for the show they were glued in, but to get the look at home, buy extensions and add in clips for a temporary evening or weekend look, or get the color straight into your hair with a double process color treatment to bleach hair and then tone it (a la Lady Gaga). With the styling,Bok-hee tells StyleList that the simplest way to try this style is to first make a low triangle ponytail, kept as clean as possible. Next, twist the ponytailed hair tightly before pinning into a bun, and apply a large, square clip diagonally through the bulk of the bun. For products, use Wella Volume Mousse and Wella Hair Spray throughout the process for body, hold, and shine.
Makeup, Diane Kendal for M.A.C.; hair, Guido Palau for Redken; manicure, Nonie Crème for Butter London.
THE LOOK: Tomboy beauty meets eighties counterculture
MAKEUP: “They’re downtown artists,” said Kendal of the practically bare faces seen backstage. “You know. Cool, young, East Village girls.” After trying more colorful variations on models earlier that day, “we took away the brows with bleach and moisturized the skin. That’s it. Really.”
THE HAIR: “There’s this whole hip-hop eighties thing going on in the clothes, in the [runway] music. Remember how cool girls used to have undercuts and then tie up the rest of their hair?” said Palau of the updos he created by knotting the models’ hair into a virtual headscarf and painting over the surface haphazardly with white clay for an almost Basquiat effect. Worn with Wang’s scribble-print blouses and paint-splattered smock dresses, the models looked like a tribe of downtown party girls emerging from a day in the studio.
THE NAILS: “It’s a stripped-down version of the Alex Wang manicure,” said Crème. “His girl always wears a matte, neutral nail, but this time we’ve taken away all but literally the slightest trace of sheer nude color. It’s a bit more subversive.”
MAKEUP: ON SKIN: M.A.C. Studio Moisture Fix.
Redken Quick Dry Instant Finishing Spray and Sultra’s The Sophisticate Power Dryer. “It’s the fastest blow-dryer you can use without frying your hair,” said Palau of the device he used on low to set the clay into place.
One coat of Butter London Nail Foundation Flawless Basecoat, followed by two coats of Matte Finish Topcoat.
Models (and die-hard Wang-iacs) like Joan Smalls and Hanne Gaby Odiele slipped out of their own Alexander Wang street clothes straight into the designer’s new collection. Nearby, Agyness Deyn—having traded in her buzz cut for the time being—sat still while a member of Palau’s team gave her new boyish crop a quick trim.
by Christina Han THE CREDITS:
Makeup, Tom Pecheux for M.A.C.
Hair, Paul Hanlon for TiGi
THE LOOK: Tribal punk.
“These girls look like Amazon women,” said Pecheux. “It’s raw with a very powerful face.” To zero-out any chance of shine, he liberally dusted powder over a thin base of foundation on models’ skin. He brushed Earth-toned powders onto the temple, under the cheekbone, and down along the neck from the jaw-line for a look that was “quite simple on makeup but sharp on contour.”
Color was found in the hair, in a single shock of UV glow-in-the-dark gel in neon shades of blue, green, orange, purple, and pink. Applied to just one side of the head, the finished effect was “club kid meets girl at a beach party” says London-based stylist, Hanlon. “It’s a bit out there.” Using nearly half a can of hairspray on each model, he slicked hair down, sectioned it off, back-combed it, and finally employed a straight-iron to create blade-like pieces. Drawing inspiration from Altuzarra’s collection, each piece was then connected together in criss-cross formation for a 3-D effect.
M.A.C. powders in Mineralize Skin Finish Natural and Prep + Prime Transparent gave a matte finish to model’s complexions. Tribal lines were brushed on with Sculpt Powders in Shapester, Definitive, and Sculpt.
TiGi’s Sleek Mystique Haute Iron Hairspray, Catwalk Your Highness Root Boost Mousse, and Thickening Gel Cream. Kryolan UV-Hair Gel. “It was Joseph’s idea, because there were flouro-colors in the belts and bracelets,” says Hanlon.
At the Victoria Beckham Spring 2011 fashion show at New York Fashion Week, a jolt of color on eyes and unexpected texture in hair enlivened a collection of silk, jersey and lamé draped dresses.
MAKEUP: Charlotte Tilbury for Lancôme HAIR: Didier Malige for Frédéric Fekkai NAILS: Nonie Creme for Butter London
THE SCOOP: Victoria Beckham's Spring 2011 collection was filled with the kind of stylishly draped dresses with unexpected details like exposed zippers and pleats on brightly-colored silk and jersey fabrics that are the Spice Girl's trademark. The beauty look was equally unanticipated, with a block of periwinkle-purple on the eyes, and a crimp in otherwise smoothly blown-out locks.
Andy Warhol's bright portraits of Marilyn Monroe and Elizabeth Taylor served as inspiration for the eye-opening makeup, which featured layering of purple eye shadows and a strong liquid line with an exaggerated version of Monroe's trademark flick at the outter corners. Skin was dewy and lips were ginger pink, with an ultra shiny finish that balanced the bold eyes.
Hair emerged from the decade of the '60's, with a voluminous blow-out that was parted in the middle and then tucked behind the ears -- not unlike Cher's natural locks from the hippie era. A wave tool was used for one surprising crimp across the back of the hair, which Malige says took the look into the present day.
Nails were groovy, in an unabashedly feminine bubble gum pink hue.
GET THE LOOK - MAKEUP: All makeup by Lancôme. Apply Teint Miracle foundation all over face for a glowy finish, and dot Éclat Miracle Serum liquid highlighter in a backwards C-shape along the temples and up the cheekbone, and blend. Layer purple eyeshadows Trendy and Drama from lid straight up to brows for a block of color effect, and line the upper lashline with a strong stroke of Artliner in Noir, ending with a flick at the ends. Apply a couple coats of Hypnôse Custom Volume Mascara in Black on top and bottom lashes. Finally, swipe on L'Absolu Rouge Lipstick in Rich Cashmere to achieve a hint of pink color, and then top with a generous application of Juiciy Tubes in Pure for mirror-like lacquer.
GET THE LOOK - HAIR: All products by Fekkai. First prep dry hair with Fekkai Advanced Full Volume Styling Whip for sleek volume, and then part strands in the middle and tuck behind ears. Spray Sheer Hold Spray to further straighten strands and make hair more heavy. Use a waiving tool or curling iron to crimp hair at the midsection, for an unexpected pop of texture.