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13-09-2012
  31
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flyme2themoon's Avatar
 
Join Date: Jul 2005
Gender: femme
Posts: 3,260
Rodarte
Makeup: James Kaliardos
Hair: Odile Gilbert
Nails: Michelle Huynh



Quote:
More Dungeons & Dragons, Less Kim Kardashian, Backstage At Rodarte
September 12, 2012

“A modern-medieval face” is what the tip sheet James Kaliardos was passing around to his team backstage at Rodarte said, but there was more to it than that, of course. “The collection feels Dungeons & Dragons to me, not Joan of Arc,” Kaliardos elaborated, referencing the austerity of old religious paintings and “getting rid of the Kim Kardashian look—forever.”

That meant skipping those familiar, heavily bronzed contours and focusing instead on a paled-out complexion that was treated with NARS Skin Optimal Brightening Concentrate and a light-handed application of its Sheer Glow Foundation just in the center of the face, “because once it gets on the cheeks, it actually looks like foundation,” according to Kaliardos. There wasn’t much visible product on the face at all, really, save for NARS’ Triple X Lip Gloss, which was swathed onto mouths and eyelids and applied through girls’ brows as well, including show-opener Jessica Stam’s. “Can you fix me,” Stam beseeched Kaliardos, who added a little fullness, too, at the model’s request.

Odile Gilbert was working off the proportions of Kate and Laura Mulleavy’s designs. “When they showed me the clothes, I thought [the girls] needed something long,” Gilbert said, referring to the hair, which she made “strict and straight” to accommodate a dragon earring cuff clipped onto models’ left ears. “It’s like the girls are shaved,” she explained, slicking strands with Kérastase Ciment Thermique for a pre-blow-dry polish, and dividing them into three sections: two in back—one hanging straight down over the other—and one in front, which was combed all the way over to one side and coated with its Elixir Ultime for added shine.

The finishing touch came from the most conceptual neutral nail we’ve seen this week. “It took 200 man-hours,” CND manicurist Michelle Huynh said of the three-dimensional polish-on-polish basketweave tips that showcased a blended base of its varnishes in Desert Suede and Frosting Cream. Nude, it turns out, doesn’t necessarily mean boring.
Quote:
The Nails That Were Built With 200 (Wo)man Hours
September 12, 2012

As we stagger through day six of New York fashion week, the nude nail—or no nail—movement is gaining steam with each passing show. But that hasn’t stopped the industry’s nail artists from flexing their creative muscles. Michelle Huynh’s spiel at Rodarte yesterday started much like many similar spiels have gone since the weekend. “We created a base with two coats of Frosting Cream and Desert Suede, which we followed with a glossy topcoat,” the CND manicurist began. But it ended quite differently. “Then we mixed those two colors with Chocolate Milk, painted a piece of wax paper, let it dry, and topped that with a matte topcoat,” she continued—at which point our ears perked up. “We cut the paper into strips,” she explained, demonstrating how the microscopic slivers were then crisscrossed on top of the nail and glued down by another coat of the band’s Super Shiny Topcoat, which was slicked on underneath the paper pieces, not on top of them, so there was a “glimmer” from the different textures playing off one another when models walked down the runway. Not your average nude nail, to be sure.
Source: style.com, stylebistro.com

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14-09-2012
  32
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Join Date: Jul 2005
Gender: femme
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DKNY
Makeup: Charlotte Willer
Hair: Eugene Souleiman
Nails: Dawn Sterling



Quote:
September 9, 2012
Backstage at DKNY Spring 2013

Relaxed, easy beauty was the order of the day at DKNY. Eugene Souleiman, working with Wella at the show, created hair that was “fresh, chic and controlled” on the top and more textured toward the ends. Souleiman began by doing a deep side part and spraying the hair with Wella’s Perfect Setting at the roots, blowing the top of the hair dry to a smooth finish. Next, he took a small section of hair from the front, tucking it behind the ears. Souleiman then gathered the hair from the nape to ends and held it in a French twist while spraying it with Wella’s Ocean Spritz. He released the hair and dried it with a diffuser for a tousled texture from nape to ends.

Charlotte Willer, working with Maybelline at the show, aimed for “a polished, natural look — she’s an active girl who’s going from sports to work to out at night.” Willer first perfected skin with Maybelline’s Dream Fresh 8-in-1 BB Cream, adding Dream Lumi Touch to conceal skin imperfections. After applying three coats of black Mega Plush Mascara, Willer applied Maybelline Baby Lips lip balm from lash line to brow to catch the light.Next, she applied Fit Me powder in the t-zone for polish, and on lips used Maybelline’s Totally Toffee or Born With It lip color for a natural look. She added a touch of Baby Lips on top of the lip color to catch the light.

Dawn Sterling, doing nails for Essie at the show, used one coat of Fed Up, a sheer nude, on nails, finishing with Good to Go fast-dry topcoat.
Source: stylebistro.com, wwd.com

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14-09-2012
  33
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Donna Karan
Makeup: Charlotte Tilbury
Hair: Eugene Souleiman
Nails: Marian Neuman



Quote:
September 10, 2012
Backstage at Donna Karan Spring 2013

Charlotte Tilbury, working with MAC Cosmetics at Donna Karan, made eyes the focal point for beauty at the show. “It’s a blank canvas with a sci-fi, modern feel,” she said. After covering the eyelid with concealer, Tilbury used a magenta MAC lip pencil to line all around the eye, stopping about two-thirds from the edge of the eye on top and bottom. Next, Tilbury brushed MAC’s Process Magenta Chrome on lashes as mascara and bleached eyebrows. MAC’s Face and Body Foundation was used to mattify the center of the face, and MAC’s Politely Pink lipstick finished the look.

Eugene Souleiman, working with Wella at the show, created a very textured, not-too-perfect updo. “This is what modern hair should look like,” he said. “It’s organic and has attitude.” Souleiman spritzed roots with Wella’s Ocean Spritz, blasting roots with a hairdryer. Next, he took sections from each side of the hair and made them into ponytails, which he knotted together, then tucked in. Using a blowdryer, Souleiman sprayed hairspray into the flow of the air — “It’s a great way to diffuse the spray but still make it hold,” he said — and added a bit of Perfect Setting for shine. Headbands finished the look.

Nails, by Marian Neuman for MAC Cosmetics, were a mix of Quiet Time, a dark taupe, with Cream Delicate, a pale pink, layered over it. “The objective was an expensive beige,” noted Neuman.
Source: stylebistro.com, wwd.com

Purple liner and pink lashes never looked so cool... and somewhat creepy (partly due to the bleached brows).


Last edited by flyme2themoon; 14-09-2012 at 04:08 PM.
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14-09-2012
  34
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Ralph Lauren
Makeup: Tom Pecheux
Hair: Guido Palau





Quote:
September 13, 2012
Backstage at Ralph Lauren Spring 2013

Argentine gauchos crossed with all-American Ralph Lauren girls inspired the makeup at the designer’s show Thursday morning. “She’s glowy and sophisticated,” he said. After prepping skin with Estée Lauder’s Idealist and Daywear skin care products, Tom Pecheux — who is creative makeup director for the Estée Lauder brand — applied Lauder’s DoubleWear foundation. Next, he turned to the eyes: skipping mascara, he grabbed a black Lauder eyeliner and lined eyes from the middle of the eye to the edge, making the line thicker as he moved along, but without a wing. Estée Lauder’s Flower Power blush was applied to the cheeks “to satin the face,” and then Pecheux mixed the blush with lip balm and dabbed it on the mouth with his finger.

Guido Palau, working with Redken at the show, created a classic chignon. “About 90 percent of the girls are wearing hats, so the hair is sort of second-fiddle to that,” said Palau. He started with a center part, then blew hair dry with Redken’s Satinwear 02 blowdry spray. Next, he applied Redken’s Fashion Works 12, a working spray, in the hair and pinned hair at the nape of the neck. He finished with an application of Redken’s Shine Flash 02 Glistening Mist for shine.
Source: wwd.com

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14-09-2012
  35
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Badgley Mischka
Makeup: Tom Pecheux
Hair: Peter Gray
Nails: Deborah Lippmann



Quote:
September 11, 2012
Backstage at Badgley Mischka Spring 2013

Mark Badgley and James Mischka were inspired by the sets and cinematography of Max Reinhardt’s 1935 film “A Midsummer Night’s Dream” this season. To interpret that for the runways, hairstylist Peter Gray for Moroccanoil designed an intricate braid hidden underneath the back of the hair. Sides were kept smooth and flat with a defined side part so that a large sweep of hair fell to the one side and back over the other. Additionally, small flowers were used as an accent. “We’re not trying to create a trend, we’re trying to create an expression,” said Gray. Out in October, Gray used Moroccanoil’s new Oil Volumizing Mousse to dampen the hair. He then applied Moroccanoil Treatment to restore damaged hair and split ends.

When speaking about the makeup look for Badgley Mischka’s spring collection, Tom Pecheux, lead makeup artist for MAC Cosmetics, described it as a virgin goddess lost in the woods. Pecheux stressed the importance of prepping the skin when achieving this natural appearance. Using a moisturizer, MAC’s Complete Comfort Cream and Studio Sculpt Foundation, he made the complexion appear flawless. To attain the look of innocence, Pecheux lined the inside of the eyes with white pencil and washed the eyelid with Sunshine Cream Eyeshadow. “The yellow eye shadow catches the light in an amazing way,” said Pecheux, “I wanted the eyes to appear very bright and open.” To top off the look, lips were dabbed with MAC’s Posh Life Mineralize Lipstick.

As soon as nail artist Deborah Lippmann saw the clothes, she envisioned a modern neutral nail to complement the muted pastels within the collection. Lippmann used a creamy mauve called Modern Love. “I was really excited to use this color, because to me mauve is the new nude,” said Lippmann, “We’ve done our sheer pinks; we’ve done our beiges; we’ve done our opaque flesh; we’ve done our greys and now mauve is the new nude.”
Source: wwd.com

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14-09-2012
  36
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Joy Cioci
Makeup: Uzo
Hair: Tommy Buckett
Nails: Candice Manacchio


Quote:
September 11, 2012
Backstage at Joy Cioci Spring 2013

“The Twenties meets mermaids” was how Uzo, lead makeup artist for Nars, described the makeup look for Joy Cioci’s spring collection. The part-vintage, part-fantasy take on the Twenties mermaid was achieved within the eye makeup and the lips. To keep it modern, Uzo highlighted the skin with silver elements. Shades of ocean blue adorned the eyes and an exaggerated baby pink lip was enhanced on the cupid’s bone.

Hair, by Tommy Buckett for Marie Robinson Salon, was formed into a low bun. On the nape of the neck, finger waves were added above the bun to resemble synchronized swimmers from the Twenties. For a strong hold, Buckett used a water-based product by Garnier called Pure Clean Gel. Half of the models wore rhinestone and lace swim caps to complement the collection.

Nails, by Candice Manacchio for CND, created an elongated nail shape, with an iridescent caviar finish.
Source: wwd.com

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14-09-2012
  37
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Nanette Lepore
Makeup: Max Delorme
Hair: James Pecis


Quote:
Posted on September 12, 2012 2:52PM by Maria Del Russo

Even though they left the beauty in the hands of professionals at Nanette Lepore, the hair and makeup were meant to look like the models were preening themselves. And this time, the techniques were so easy to do, they probably could have.

The look: Bold pastel eyes, a textured ponytail, and flesh-toned polish.
The inspiration: A postmodern picnic.
Who would wear it: The ponytail fanatic looking for a funky take on the undo.

Nails were kept flesh-colored and painted in MAC's Coffee Break or Skin ($16 each), depending on the models' skin tone.

Key makeup artist Max Delorme, working with MAC, set out to create a makeup look representative of a fun girl, but one with a bit more of an edge. Models wore a high-contrast eye that was the focal point of the entire makeup palette. He dubbed it "punky sexy."

Delorme paired a creamy black eyeliner with a bright pastel — either salmon, lavender, or green. "It looks like the girl knows nothing about makeup," Delorme said. "She puts a black line from corner to corner, blends it with Q-tips, and then draws the pastels on top."

The final result was an interesting blend of bad girl and sweetie pie, with the heavily textured hair playing nicely with the pastel and black eyes. "It's supposed to be a power girl, not a cute girl," Delorme explained
Source: stylebistro.com, wwd.com, bellasugar.com


Last edited by flyme2themoon; 14-09-2012 at 04:40 PM.
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17-09-2012
  38
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Christopher Kane
Makeup: Lucia Pieroni
Hair: Anthony Turner



Quote:
LFW: Christopher's Girls
17 September 2012

"IT'S something a bit different for Christopher Kane, something refreshing," said TIGI's Anthony Turner of the slick, low-tied ponies he and his team created for the show this afternoon.

Using TIGI Catwalk Session Series Wet-Look Gel in sections through the top of the hair, he used a wide-toothed comb to pull hair back into ponies fastened with simple black bands, ironing out the lengths for a sleek, no-nonsense finish.

"I think Christopher liked the idea of the girl having just stepped out of the shower and quickly tying her hair back herself," Turner told us.

Meanwhile the beauty look could only be described as luminous, with Lucia Pieroni using NARS' Illuminators in either Orgasm or Copacabana to create "a beam of light all of the way down the front of the face", offset by black liner between the bottom lashes and on the water line. Beautiful.
Source: wwd.com, vogue.co.uk

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17-09-2012
  39
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Temperley London
Makeup: Val Garland
Hair: Malcolm Edwards


Quote:
September 17, 2012
Backstage at Temperley London Spring 2013

LONDON — The starting point for Temperley London’s spring 2013 catwalk show was “Fifties couture, and Fifties starlets like Grace Kelly and Sophia Loren,” said Val Garland, the makeup artist working with L’Oreal products.

She created creamy skin, using BB Cream and added a flicked-out black eyeliner. “We made the line slightly thicker than a true Fifties eyeliner, and the flick slightly blunter, which gives a more modern feel," Garland said.

Malcolm Edwards created the hair using L’Oreal Tecni Art products. He divided hair into two sections, with the back section swept up in a high ponytail and twisted into a bun. The front was tonged and given texture with Texture Tonic, then styled in such a way as to extend the bun in a soft form down towards the face, ending above one ear.

“Everything about this look is elongated,” Edwards explained.
Source: wwd.com

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17-09-2012
  40
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Jonathan Saunders
Makeup: Lucia Pieroni
Hair: Paul Hanlon



Quote:
Jonathan Saunders’ Big Night-Out Beauty
September 17, 2012

“Seventies disco punk” was where makeup artist Lucia Pieroni firmly placed the makeup look backstage at Jonathan Saunders, confirming our suspicions that the designer’s woman had loosened up from her more precise, uptight beginnings. “It’s the day after a big night out,” Pieroni elaborated, cuing up a requisite lived-in liner look of the day-old variety.

Giving skin a “gorgeous, dewy finish” with highlights courtesy of luminescent shades of MAC Cream Colour Base in Luna and Hush, Pieroni relied on her trusty MAC Eye Kohl in Smolder, a rich black, to rim lids, slicking on a touch of grease and smudging the line with her fingers. The pencil was also used in between lashes, instead of mascara, to enhance the undone feel. Added to this was a stamped-on bordeaux lip, which Pieroni created with a deliberate etching of MAC Lip Pencil in Burgundy, a rich wine hue that she was adamant about keeping in the center of mouths, rather than traced around the edges. “Keep [the lips] heart-shaped and perfect,” she instructed her team, adding a dollop of clear gloss in the center of pouts, right before models hit the runway.

“She’s a bit dangerous and has attitude,” Paul Hanlon elaborated, repurposing the D-word that guided him through much of the New York shows. Spritzing hair with L’Oréal Studio Matte & Messy Salt Spray through the mid-lengths, Hanlon worked the product through the ends with his fingers and a diffuser to bring a natural movement to the look. Random sections were given a gentle wave to keep them from appearing too uniform. Then, coating his hands with L’Oréal Studio Silk & Gloss Straight Cream, Hanlon swept side parts over to the left, sculpting them over one eye to add “mystery.” Elnett Diamond Hold & Shine Hairspray kept strands in place and flyaways at bay.
—Skye Delap
Photo: Getty Images
Source: style.com

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17-09-2012
  41
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Holly Fulton
Makeup: Andrew Gallimore



Quote:
Lip Love In London
September 17, 2012

Lips haven’t really been the big story of the Spring shows thus far, as eyes—and more often than not, contours and shadows—dominated the backstage scene in New York. That continues to be the case in London, as a certain pared down, nineties beauty mantra presided over Dion Lee, Peter Pilotto, and Christopher Kane this morning (more on that in a bit). But a few mouth moments have still managed to creep into a season that is usually littered with luxe lips, the better to play with when the weather (and the collective mood) lightens up. Pat McGrath debuted a perfect red at Anna Sui last week, and Michael van der Ham and Louise Gray both called for coral at their respective shows today. But Andrew Gallimore did them all one better at Holly Fulton this weekend, whipping up a two-tone mouth that’s prepped and primed for a little summer fun. Lining pouts with MAC Lip Pencil in Embrace Me, a hot magenta, Gallimore concocted a creamy, custom pink pigment with a blend of its Lipmix in Fuchsia and White, which he used to bolster the outline before applying a few brushstrokes of its Lipmix in Orange to the center. It’s cute and a little kitschy, and it definitely managed to jar us out of our minimalism-inspired complacency, for the time being at least. Would you wear it?
Photo: Luca Cannonieri / GoRunway.com
Source: style.com

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17-09-2012
  42
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Lots of bare eyes this season.

I like the no make-up make-up at DKNY. Every girl looks so fresh faced. And again there's that damn Maybelline BB cream... I need to get my hands on it stat!

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18-09-2012
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Quote:
Originally Posted by flyme2themoon View Post
Temperley London
Makeup: Val Garland
[SIZE=1]Hair: Malcolm Edwards


Source: wwd.com
That makeup is flawless

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18-09-2012
  44
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Mary Katrantzou
Makeup: Val Garland
Hair: Eugene Souleiman


Quote:
Helmet Hair And Inky Eyes, Backstage At Mary Katrantzou
September 17, 2012

“I’m glad to be getting back to my roots,” Eugene Souleiman joked—no pun intended—backstage at Mary Katrantzou, where the hair hero and Wella Professionals global artistic director made his grand return to London fashion week after a five-year hiatus. He picked a good show for his comeback, too; Katrantzou’s whimsical prints pack plenty of power in the way of beauty inspiration.

“[They're] very conceptual,” Souleiman admitted of the designer’s Spring fabrics, which included colorful, graphic adaptations of exotic stamps and banknotes, which caused the coiffeur to stay the “couture and sharp” course with the hair in complement. “The detail of the clothes needed something minimal to go with it,” he elaborated of the four-section updo that was based loosely on the aerodynamic shape of a “cycling helmet.” Prepping strands with Wella Create Character Texturizing Spray, Souleiman built a tight bun with the bulk of models’ lengths to anchor a panel of hair from the right side, followed by a panel of hair on the left side that he wrapped and secured on top of the chignon. A front section of hair was then combed backward and set with Wella Finish Shimmer Delight Shine Spray to “elongate and extend the shape of the head in a slightly alien way.” An additional otherworldly element came from Josh Wood, the London-based colorist who dyed a few girls, including Australian stunner Chrystal Copland, a platinum shade akin to “crisp linen” using Wella’s new Illumine range.

Makeup artist Val Garland’s contributions centered around a “ballpoint blue eye that referenced the inky colors of an English pound” (editor’s note: Blue is the new black when it comes to eyeliner for Spring). The precise shade of matte midnight pigment was a mix of two MAC Lipmixes in Blue and Red, which Garland drew onto the upper lash line in a thick, elongated, almond shape to adhere to Katrantzou’s mandate that the girls look “modern and linear.” Garland ditched mascara altogether and gave lips a clear moisturized finish with a swipe of MAC Lip Conditioner. Her intention was to keep skin looking “polished,” which was just fine with St. Tropez skin finishing expert Nichola Joss, who was giving models a “velvet tan” by buffing St. Tropez Instant Glow Wash Off Mousse mixed with its Body Butter into skin with a mitt, to which she added a light layer of St. Tropez Rose Skin Illuminator for a pastel sheen.
—Skye Delap
Source: stylebistro.com, style.com

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18-09-2012
  45
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Vera Wang
Makeup: Lucia Pieroni
Hair: Paul Hanlon





Quote:
September 11, 2012
Backstage at Vera Wang Spring 2013

Lucia Pieroni, Clé de Peau Beauté’s makeup creative director, looked to capture a soft, ultrafeminine elegance with a seductive flair at Vera Wang. The focal point of the look were the eyes, where Pieroni used Clé de Peau’s new Eye Color Quad in Aquamarine. The lightest tone was blended over the upper lid, while the darkest brown added depth to the eyelid crease. She then applied a bronze shade, dampened with water to intensify the metallic shadow under the eye. Pieroni dabbed on Enriched Lip Luminzer in Sweet Nougat for a barely there glossy finish.

“She [Vera Wang] really wanted the hair to be used as some sort of a material,” said Paul Hanlon for Frédéric Fekkai. “So I decided to take it one step further and make it look more like a fabric rather than hair.” Starting at the back of the head, Hanlon took a section of the hair and back-combed it from the roots to the end. He sprayed a section with Frédéric Fekkai Sheer Hold Hairspray and ran a straightener through it. Then, he flipped the model’s hair and lightly brushed it from the nape of the neck to the ends. While the hair was still flipped, Hanlon crossed two sections of hair over each other at the front of the head. Putting the hair upright, Hanlon pinned the sections as he wrapped them around the models’ hair. He finished the look by pulling a few strands out toward the back with his hands and sprayed thoroughly with Frédéric Fekkai Sheer Hold Hairspray.
Nails were finished with Midnight Incoco Nail Strips.
Source: wwd.com

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