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20-09-2011
  31
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Join Date: Jul 2005
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Rodarte
Makeup: James Kaliardos
Hair: Odile Gilbert
Nails: Deborah Lippmann









Quote:
by Catherine Piercy

THE CREDITS:

Makeup: James Kaliardos for NARS
Hair, Odile Gilbert for Kérastase
Nails, Deborah Lippmann for Deborah Lippmann


THE LOOK:

MAKEUP: Kate and Laura Mulleavy’s spring collection was a meditation on the work of Vincent van Gogh. It’s little surprise then that makeup artist James Kaliardos’ rounded midnight-blue lids seemed plucked from the landscape of the painter’s Starry Night. For lips and cheeks, he drew from a post-Impressionist palette of soft peaches and lavenders instead. “It’s dreamy and aggressive, all in the same moment,” he said.

HAIR: “Sweet sixteen!” proclaimed hairstylist Odile Gilbert from the light-filled backstage area, located across the street from Rodarte’s show space at the Pace Gallery. Indeed, the soft, brushed-out waves she created—rolled and pinned neatly just to one side of the face—conjured the fleeting innocence of girlhood birthday parties and 1950s Sadie Hawkins dances.


THE TOOLS:

EYES:
To create an inky, saturated cloud of color around the eye, Kaliardos blended a pair of highly pigmented cobalt and teal pigments together (NARS eye shadows in Night Flight and Tropic, respectively) before swirling them around the eye with a brush. “The shape is circular, which is very van Gogh, and soft around the edges,” he said.

CHEEKS:
Models rushing into the backstage area were already amply flushed from sprinting three flights up to the balmy backstage area. The makeup artist tweaked their rosy-cheeked glow to a subtle shade of peach, instead, using NARS Penny Lane blush from the apples of the cheeks all the way to temples.

LIPS:
Kaliardos’ muted lavender lips were a study in color theory: He patted the same peach-toned cream blush onto the lips, then dabbed a shimmering mauve cream shadow (NARS Eye Shadow in Pearl Beach) on top before finishing with a sheer dab of grape-colored gloss (NARS Lip Gloss in Nana).

HAIR: “It’s very . . . soft,” said Gilbert, emphasizing the word as she worked Kérastase Volumactive mousse through the hair, and then blew it smooth. After adding a hint of wave with a wide-barrel curling iron, she brushed it all out to create a fluffy “cloud” effect. To finish, she twisted the hair back off the face into a roll, creating a slightly retro ridge at the crown before pinning it into place with a hidden hair comb.

NAILS: Models’ sapphire-colored fingertips twinkled subtly in the light—thanks to Lippmann’s glitter-flecked formula. “We started working on the nails weeks ago,” said the manicurist, who spiked her existing Lady Sings The Blues polish with an extra dose of flashing silver and graphite flakes at the Mulleavys’ request. For toes, to keep things focused on those silver-mirror abstract-star sandals, she used a flesh-toned neutral. “It’s just an extension of the skin,” she said.
Source: vogue.com, vogue.it

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20-09-2011
  32
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Vivienne Tam
Makeup: Andy Koh
Hair: Leon Gorman



Quote:
For Vivienne Tam’s collection inspired by the impeccable and minimal Japanese Garden, Leon Gorman for Cutler/Redken created a very natural, “fresh” look. Locks were revived with dry shampoo and then spritzed with Redken Fashion Worth 12 hair spray, given a deep side part, and pulled back into a simple, messy knot, meant to look “like [the models] have done it themselves.” “I don’t want it to look like a hairdresser has touched it,” he said.

The beauty looked conceived by Andy Koh for Maybelline was a marriage of clean “natural, dewy” faces with Seventies retro glamour. On the skin he used Maybelline Fit Me foundation in two tones: a lighter shade on the t-zone and cheekbones to highlight and a darker one on the cheeks and jawline to “bring out the natural shape of the face,” a look he said would make faces pop on the runway. Keeping with the spirit of the Seventies, Koh then used Maybelline Eye Studio Color Plush Silk eye shadow in gold and green metallics on the lid and defined with copper in the crease. For clean and natural-looking voluminous lashes, Koh wiped the wand before applying Maybelline Volum’Express The Falsies mascara. Giving the models a “clean and girly, not doll-y” pout, as he described it, Koh first primed lips with gold cream shadow and then applied Maybelline Color Sensational High Shine Lipstick in Coral Lustre, topping off the look with Shine Sensational Lip Gloss in Minty Sheer.
Source: wwd.com

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20-09-2011
  33
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Jill Stuart
Makeup: Diane Kendal
Hair: Odile Gilbert






Quote:
“It’s a little bit Seventies,” said Diane Kendal about the beauty look she created backstage at Jill Stuart.

With the bright and colorful collection in mind, Kendal kept things “ethereal” and “dreamy.” She left skin matte and clean, highlighting cheekbones with apricot- and lilac-hued blush from the Jill Stuart Beauty Mix Blush Compact in Milky Strawberry. Eyes were soft and smoky, lined with black eye pencil and lightly smudged cream liner. Top and bottom lashes were accentuated with black mascara. Kendal then swept a deep brown cream shadow in the crease of the eyes for soft definition. Lips had “just a hint of a color,” primed first with foundation and then given a dusting of MAC Powder Pigment in Red Electric or Neo Orange. The result was a “bright-toned” face.

Hair by Odile Gilbert for Kérastase was of an equally soft and youthful tousled style. To achieve it, Gilbert first massaged Kérastase Mousse Volumactive throughout hair and sprayed Kérastase Lotion Densitive to the ends for added texture and body. She scrunched hair and blow-dried lightly for loose, beachy waves, which she then parted deeply on the side, swept across the forehead, twisted and pinned back to give the illusion of side-swept bangs. “It is teenage, youthful, but sexy,” said Gilbert, who also braided small pieces of hair to coyly peek out from the messy dos. To set the style, she sprayed Kérastase Double Force Hair Spray. It’s a “day or night” style, Gilbert explained, inspired by playful young women with a natural but “fixed” look.
Source: wwd.com

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20-09-2011
  34
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Diane von Furstenberg
Makeup: James Kaliardos
Hair: Orlando Pita








Quote:
THE CREDITS:
Makeup, James Kaliardos for M.A.C.
Hair, Orlando Pita for T3
Nails, Yuna Park


THE LOOK:


MAKEUP: “Diane was inspired by new beginnings,” said James Kaliardos, who looked to “the regal beauty of African women”—as well as the rich, earthy tones of the continent’s striking landscapes—when dreaming up his softly shaded, supernatural face.

HAIR: Orlando Pita’s teased, textured sixties-esque chignons, which looked right with the designer’s bold, colorful prints and signature wrap dresses, “started out rustic and ended up looking more like Kim Novak, which wasn’t a bad thing,” he said. “It just worked.”

THE TOOLS:


MAKEUP: Kaliardos dipped into more than eleven tone-on-tone neutrals—varying shades of M.A.C. Cream Colour Base in pink, taupe, mustard, caramel, and peach spread out along a makeshift artist’s palette—to contour eyes and cheeks according to each model’s skin tone. He finished with a swipe of mascara but left the lips bare.

HAIR: Pita whipped hair into an airy froth using T3’s Plump Dryer Volumizer. After teasing it and twisting it into an oversize chignon, he pinned everything into place and misted it lightly with the company’s Control hair spray.

NAILS: “It’s incredibly simple,” said Park. “Buffed, clean fingers and two coats of clear polish on the toes.”
Source: wwd.com, vogue.com

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20-09-2011
  35
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Burberry Prorsum
Makeup: Wendy Rowe
Hair: Neil Moodie






Quote:
by Chioma Nnadi

THE CREDITS:

Makeup, Wendy Rowe for Burberry
Hair, Neil Moodie for Bumble and Bumble


THE LOOK
MAKEUP:
“It’s back to the classic Burberry girl,” said Wendy Rowe. Fresh, fun, and natural, with a youthful English rose palette.

HAIR: “With so much handcrafted detail in the collection, I didn’t want the hair to overpower the clothes,” said Neil Moodie. “It’s the kind of lightly tousled hair that’s supposed to look completely effortless and unassuming.”

THE TOOLS
ON SKIN:
Rowe combined Burberry Foundation with the company’s Fresh Glow Luminous Fluid Base to give the skin an extra healthy boost.

ON EYES: She blended soft neutral eye shades, like Burberry’s Pearl Barley, gently under the brow for an effect that was more earthy than smoky.

ON LIPS: A sheer coating of Burberry’s new spring nude: Pink Tulip.

HAIR: To prevent hair from looking dry or flyaway, Moodie sprayed Bumble and Bumble Thickening spray from the roots to the tips before drying it with a diffuser. He wrapped sections of hair twice around the barrel of a large curling iron to add movement. Sometimes those waves were tucked inside the collar of a coat; other times they feathered the face.
Source: vogue.com, vogue.it


Last edited by flyme2themoon; 20-09-2011 at 10:15 AM.
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20-09-2011
  36
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Erdem
Makeup: Andrew Gallimore
Hair: Charles Worthington






Quote:
by Chioma Nnadi

THE CREDITS:
Makeup, Andrew Gallimore for M.A.C.
Hair, Charles Worthington


THE LOOK
MAKEUP:
Erdem’s muse had the look of love this season. “It’s that beautiful, soft, glowing summer skin and velvety rose-petal mouth,” said Andrew Gallimore.

HAIR: South of France chic, with a high, swinging ponytail.

THE TOOLS
ON SKIN: Gallimore swept M.A.C. Face and Body Foundation across the face, avoiding the cheeks, which he dabbed with a lick of M.A.C. Tender Tone lip balm in Hot n’ Spicy, for a glistening, dewy look.

ON EYES:
Gallimore left the eyes bare except for a single stroke of Plush Lash mascara in Plushblack. He achieved a tomboyish ruffled brow with a clear coat of Brow Set.

ON LIPS:
Gallimore blotted M.A.C.’s lipstick in Scarlet Ibis, a new shade of tomato red, on both upper and lower lips for a blurry line.

ON BODY:
St. Tropez’s Nichola Joss lightly bronzed models’ skin (the desired effect was “a washed-out tan”), and then went over the color with two custom illuminating creams—one in silver, the other in blue—created especially for Erdem’s show. The silver worked as a highlighter while the blue added subtle radiance.

HAIR: Worthington used his Front Row volumizing spray to give hair some elegant oomph at the root. Wispy strands of hair softly framed the face.
Source: vogue.com


Last edited by flyme2themoon; 20-09-2011 at 10:23 AM.
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21-09-2011
  37
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Mary Katrantzou
Makeup: Val Garland






Quote:
Metallic Mouths, Backstage At Mary Katrantzou
September 21, 2011

We’re halfway through the Spring season, and already a few overlying makeup trends have started to crop up from New York to London. Aside from monochromatic color palettes and bold brows, we’ve also noticed a preference for metallic pigments backstage (see Lim, Phillip and Herchcovitch, Alexandre) as well as a bright array of mismatched lip colors (see Lepore, Nanette; Chai, Richard; and Kirchhoff, Meadham). Yesterday at Mary Katrantzou, makeup artist Val Garland managed to get both into one seriously statement pout. “It’s a chaos of color,” Garland said of Katrantzou’s eye-popping prints, which inspired her to incorporate her own dose of full-on flair with eight different custom-blended lip colors. Referencing “smashed-up cars,” Garland prepped mouths with MAC Paintstick in White to create a muted base for a range of the brand’s multipurpose Pigments. Onto a flawless complexion, Garland then pressed applications of Aire, a blue foil; Acid Orange, a sparkling neon mandarin; Electric Coral, a glitter-flecked melon; Chartreuse, a glistening light green; Teal; Old Gold; Rose; and Violet powders onto mouths to create a matte focal point on the face. We’re not sure that Katrantzou’s exceptional fabrics need any help by way of more vividness (a nude mouth would have suited us just fine), but there’s nothing wrong with a “more is more” approach every once in a while.
Source: vogue.com (photos), style.com (quote)

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21-09-2011
  38
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David Koma
Hair: Kenna Kennor
Makeup and nails: ?







Source: vogue.com

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21-09-2011
  39
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Aquascutum






Michael van der Ham





Check out the eye makeup in the first (hq) thumbnail. It's so gorgeous! I wish I knew who was responsible for it.

Source: vogue.com


Last edited by flyme2themoon; 21-09-2011 at 06:31 PM.
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22-09-2011
  40
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Thank you so much for this thread and all the great posts. Looks like the big make up trends for next season are both a super natural look and lots of funky & soft colors. I must say I like both trends. I do like dark and dramatic make up in editorials and on the runway but can never find an occasion to try it myself, but all the looks in this thread look like they can be pulled off for everyday, except for maybe the turquoise lips
I agree that the eye make up at Michael van der Ham is completely gorgeous I'm going to try that look this weekend

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27-09-2011
  41
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^ You're welcome. So, did you recreate the Michael van der Ham eyes? If so, how did it turn out? What (brands/shade names) did you use?


Back to the runway/catching up...

Jil Sander

Makeup: Peter Philips
Hair: Guido Palau






Quote:
by Catherine Piercy

THE CREDITS:
Makeup, Peter Philips
Hair, Guido Palau for Redken


THE LOOK:


MAKEUP:
There is a defining undercurrent of crisp clinical precision to all things Jil Sander in Raf Simons’s hands, whether he’s cutting a slim neon peplum skirt or a hooded ski sweater. This season, the designer went literal with the concept—taking a cue from the controlled, near sanitorium-like purity of 1950s spa aesthetic both above and below the neck. “Raf was thinking of the spa. Both the women who went to it and the women who executed the treatments,” said makeup artist Peter Philips, pausing before the sprawling floor-to-ceiling windows of the Jil Sander headquarters on Via Beltrami to do a final check on model (and campaign girl) Daria Strokous’s milky white complexion. “We wanted pure skin and a groomed, arched fifties brow. Everything is immaculate.”

HAIR: Watching models glide down the runway with their coiffed Tippi Hedren-esque updos, it felt as if they’d stepped out of the salon—and into their crisp white shirt dresses—mere seconds before. Like Simons’s cool white retro pumps, which clicked cleanly down the runway in what seemed like a riff on the world’s chicest nursing shoes, “the hair has a 1950s/1960s mid-century shape,” said Palau, “but it’s been done in a way that’s so cold, so articulate, that it actually becomes . . . modern.”

NAILS: Models’ well-groomed nails were treated with a coat of a clear polish on hands and feet.


THE TOOLS:

MAKEUP: The linchpin to Philips’s rigorously beautiful face for spring was fresh, delicate skin. “It’s a natural perfection,” he said, using Chanel Pro Lumiere foundation to conjure the smooth, preternaturally even surface of a postfacial complexion. He dabbed a bit on the mouth, too—not so much a nod to the beige-toned lip colors of the decade, but to the total refinement of his woman—before drawing a winged line along the upper lashes with Chanel Stylo Yeux Waterproof Long-Lasting Eyeliner. To finish, he swiped a fine coat of Chanel Inimitable mascara on the lashes and drew in his “elegant, arched” brows with Chanel Crayon Sourcils Sculpting Eyebrow Pencil.

HAIR:
“You can’t do hair this perfect without putting some guts into it first,” said Palau, who playfully threw on the persimmon-colored plaid scarf presented to him by the fashion house backstage before continuing his work. That meant dousing the hair with Redken Rootful 06 for texture—and height—and blowing it dry. “Raf’s woman was of a similar era last season,” he said of the designer’s mid-century muse. “This time, we’re pushing it a bit further.” To create a classic, era-defining updo, he swept the hair straight back from the face, then pinned it under in a faux bob of sorts and slicked down the sides using Redken Forceful 23 hairspray. “There should be no emotion to the hair. That’s how done it is.”
Source: vogue.com


Last edited by flyme2themoon; 27-09-2011 at 09:14 AM.
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27-09-2011
  42
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Versace
Makeup: Pat McGrath
Hair: Guido Palau






Quote:
by Catherine Piercy

THE CREDITS:
Makeup, Pat McGrath
Hair, Guido Palau for Redken


THE LOOK:
MAKEUP: Skin—and lots of it—was the message for spring at Versace, where Pat McGrath was charged with producing a near-supernatural glow from head to toe. “Highlighting and healthiness!” she said of the full brows, flushed cheeks, and lit-from-within complexions she created backstage. Below the neck, she imbued shoulders, midriffs, and legs with a luminous finish that lent a punch of visual impact to Donatella’s high-cut short-shorts and peek-a-boo evening dresses.

HAIR:
“Gorgeous, rich, sexy…you just want to be her,” said Guido Palau of his thick, high-maintenance hair, which bounced softly around the shoulders as models sauntered down the runway to the tune of Stevie Nicks.

THE TOOLS:

SKIN: McGrath blended foundation into the skin before going over the cheekbones, chin, and inner corners of the eyes with a gleaming metallic highlighter. Below the neck, her team rubbed a subtly shimmering moisturizer over every inch of exposed skin before dabbing away imperfections with concealer and blending luminizer down the front of the shins.

EYES: McGrath dusted a haze of mink-colored shadow around the entire eye, then swiped black mascara onto the top and bottom lashes.

CHEEKS: Forsaking a touch of color in favor of a full flush, she swirled a robust, rose-colored blush over the apples and upward into the temples.

LIPS: Nothing more than a dab of clear moisturizing balm.

HAIR: Models read, texted, and talked to pass the hours it took for Palau’s team to pump up their lush, center-parted hair to full capacity (model Arizona Muse’s book of choice, for the record: Mark Twain’s Joan of Arc). After rubbing Redken Aerate 08 Bodifying Cream-Mousse through damp hair, they blow-dried small meticulous sections, and set it in large pin curls to cool—before repeating the whole process again. Once it had taken on a satin-like quality, he parted it down the center and brushed it over and over again, leaving a hint of curl at the ends.

NAILS: Two coats of sheer nude color—Layla Cosmetics’s nail polish in #87—on hands and feet.
Source: vogue.com

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27-09-2011
  43
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Emilio Pucci
Makeup: Lisa Butler








Quote:
With “80s Madonna, lingerie, lace” and a “gypsy feeling” in mind, Lisa Butler created a gorgeous smudgy eye with metallic shades of gold and black using MAC Cosmetics.

Face
• Face & Body Foundation – lightly applied to even skintone.
• Select Moisturecover – applied where needed to perfect.

Eyes
• Smolder Eye Kohl – applied through the upper lashline, waterline and lower lashline, with extra depth at the inner and outer corner of eyes.
• Blitz and Glitz Fluidline – smudged through Smolder Eye Kohl around lashes.
• Venetian Tarnish Metal X Cream Shadow – applied over the upper and lower eyelids with fingers, being sure to not over blend.
• Zoomblack Zoom Lash Mascara – applied through both upper and lower lashes to define.
• Hush Hush Tendertone Lip Balm (available Spring/Summer 2012) – dabbed over eyelids during line-up at first looks.
• Brows are left natural.

Lip
• Hush Hush Tendertone Lip Balm (available Spring/Summer 2012) – blended over lips for a subtle nude with shine.
Source: vogue.com (photos), makeupforlife.net (quote)


Last edited by flyme2themoon; 27-09-2011 at 09:36 AM.
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27-09-2011
  44
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Marni
Makeup: Tom Pecheux
Hair: Paul Hanlon








Quote:
by Catherine Piercy

THE CREDITS:

Makeup: Tom Pecheux for M.A.C.
Hair: Paul Hanlon


THE LOOK:
MAKEUP: It was Consuelo Castiglioni’s accessories—the heel of two-tone caramel-and-white oxford print shoes; the leather of a slim terra-cotta convertible clutch—that inspired Tom Pecheux’s graphic wing of burnt-orange liner on the eyes, which he paired with a semi-erased mouth that seemed to vanish around the outer edges. “This is Marni. You need a little bit of concept, no?” he said playfully.

HAIR: You could practically hear the wind whipping through Paul Hanlon’s deconstructed French twists, licking their wispy flyaway strands out of place and leaving them swirling, gravity-less, just above the head. His team prepped models, but it was Hanlon who finished each girl himself, massaging the hair into a state of disarray with his hands. “Jackie O gone wrong,” he said of the bouffant-inspired style. “If she’s the kind of woman that goes to get her hair done every week, then this is the day before she’s due at the salon. She’s been sleeping on it for a week; the wind has gotten into it. It’s that beautiful fifties hair, but completely destroyed.”

THE TOOLS:
SKIN: Pecheux massaged a calming blend of essential oils into the skin with his hands before setting to work, giving bleary eyed models one more reason to doze in their chairs on the heels of a 7 a.m. call time. After smoothing M.A.C. MixMaster foundation over the face, he powdered it lightly for a natural matte texture. “She’s a young woman, but grown up, with a bit of a sixties flair,” he said of the smooth, finished skin.

EYES: A full, strong brow “is a nice way to make the face powerful without using color,” said Pecheux, who used pencils and powders to shade arches into a heightened shade of brown. He used an angled brush to line the upper lashes with a sharp, creamy wing of coppery orange (a blend of M.A.C. Select Cover-Up Color Corrector in Terracotta and Caramel). To create a slightly surreal effect, he traced the lower lids with a snow white crayon (M.A.C. Eye Pencil in Fascinating), blending the color downward “so it almost looks like it’s melting.” The effect, seen from the runway, was the illusion of a preternatural brightness, “a freshness, rather than anything too abstract,” he said.

LIPS: Using the same foundation he used on the face, Pecheux erased only the edges of the mouth. The effect, finished with a dab of balm, “is a soft pop of pink at the center of the mouth, where the natural lip color comes through,” he explained.

HAIR: If Pecheux’s massage lulled models into a light sleep, Hanlon’s iPod woke them up again. Model Valerija Kelava nodded to a sound track of Prince while Hanlon worked his magic, blowing her hair out with Tigi Queen for a Day Thickening Spray, and then teasing it before pinning it into a haphazard French twist with the top sections pulled free. He blasted the hair with L’Oréal Elnett hair spray while rubbing sections between his fingers for a believably tousled look. If it appeared spontaneous from the front row, however, it wasn’t. “No!” Hanlon cried in mock despair at the sight of models clustered around a vent blowing cool air onto their finished coifs in the overheated backstage space, before dragging them back to his chair for a retouch.
Source: vogue.com

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27-09-2011
  45
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Quote:
Originally Posted by flyme2themoon View Post
^ You're welcome. So, did you recreate the Michael van der Ham eyes? If so, how did it turn out? What (brands/shade names) did you use?
Haha, I haven't made a serious attempt yet but I did try some similar looks, using different shades of green from MAC and an old Dior purple eyeshadow but I don't have anything similar to that bronze/gold that they used so I used silver instead, but that turned out too kitschy But I'm definitely into that multi-colored eye make up look at the moment and love playing around with different colors

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