Backstage Beauty Report | Tory Burch By LILY NIMA
September 11, 2012, 2:30 pm
The Look: Prairie Girl.
The Makeup: Using M.A.C. Cosmetics, the makeup artist Diane Kendal created a fresh, natural look at the request of the designer Tory Burch. Face and Body Foundation, as well as Prep + Prime Transparent Finishing Powder, were used as needed to perfect the complexion. A touch of Pro Pigment in Frost brought light to the cheekbones and bridge of the nose. On the eyes, cream shadows from the new Pro palette — Runway Rose on the lid and Must Have Brown in the crease — added subtle definition. Brows were filled, with lashes and lips left bare.
The Hair: The stylist Eugene Souleiman opted for windblown, wheat-like fishtail braids to complement Burch’s Spring 2013 collection. “It’s not a boring, Pippi Longstocking sort of look,” he says. “There’s a romance and lightness to the texture.” An excess of extensions were used to create fullness and length, with the hair being set and secured using only Wella Professionals Stay Essential Finishing Spray (light-hold, flexible hairspray).
The Nails: The manicurist Michelle Saunders achieved a natural-looking nail with one coat of Essie Fed Up, a sheer nude-pink.
The Product:M.A.C. Cosmetics Spring 2013 Forecast Palette is available now at the brand’s Pro stores.
The Takeaway: Souleiman opted to glue on the hair extensions (as opposed to clipping in) to allow for texture and volume at the crown.
Makeup: Hannah Murray
Hair: Anthony Turner
Pretty in Punk, Backstage At Topshop Unique
September 17, 2012
Topshop Unique’s girl is effortlessly cool and understatedly chic—a profile that was made infinitely clear with a quick peruse of the show’s front row. Next to Elle Fanning sat Leigh Lezark, who was a stone’s throw away from Poppy Delevingne, Pixie Geldof, Tallulah Harlech, and Olivia Palermo. “She’s the girl that everyone wants to be,” hairstylist Anthony Turner confirmed backstage, where the It-ness of it all was reinforced with a gaggle of the season’s biggest catwalkers. Cara, Jourdan, et al. got Turner’s low side parts, which were tucked behind the ears and treated with L’Oréal Beach Frizz for a shine-free, matte texture. “It’s the day after the night before,” he explained, throwing in a “nineties Kate Moss” reference as well as the words “very cool” to describe strands, thus completing the season’s hair inspiration trifecta. As models lined up before the show, Turner roughed up the hairline and broke up sections in the back, creating a randomness to the otherwise uniform coifs.
“It’s nineties grunge meets punk,” makeup artist Hannah Murray further elaborated, giving a “pretty edge” to designer Kate Phelan’s white and pale yellow palette. Mixing two Topshop Makeup Blushes in Prime Time and Flush, Murray made a makeshift, rosy eye shadow, which she dabbed with the silvery shade from its Eyeshadow Palette in Constellation to give lids a sheer iridescence. Cheeks were contoured using Topshop Lips in Beguiled, a vampish dark red that was layered with a dollop of its Balm for a dewy finish. To ensure the girls didn’t look “too done,” Murray took mouths down with a finger-patting of foundation while manicurist Anatole Rainey reprised Spring’s “nothing nail” with Topshop Nails in Nice & Neutral.
Makeup: James O'Riley
Hair: Federico Ghezzi
LFW: Exercise In Minimalism
14 September 2012
Soft and fluffy. That is how L'Oreal Professionnel hair stylist Federico Ghezzi wanted the finish on the hair at Maria Grachvogel this morning. Teamed with a camel-coloured floating liner in the eye socket by make-up artist James O'Riley for MAC Cosmetics, it's safe to say that this look was an exercise in minimalism. And a beautiful one at that.
Makeup: Val Garland
Hair: Malcolm Edwards
September 16, 2012 'Seventies' Beauty at Issa London
LONDON — A "Marie Helvin-esque creature from the Seventies" inspired the hair and makeup for Issa London.
That was the word backstage from makeup artist Val Garland, who was working with L’Oreal. “She’s on a yacht to Bora Bora, on her way to meet Marlon Brando,” she said. “We created a very strong cat eye with black precision liner. The lipstick varied from girl to girl — either a bright orange, bright red, or a watermelon pink, depending on their skin tone.”
Garland added that she used very little base, and a nude blush along with the bold eye and lip. All the models were bronzed with St. Tropez tan.
The elaborate pinned-up hair was by Malcolm Edwards, using L’Oreal Tecni Art. He described it as “a very elevated look, using a lot of hair pieces, and twisting them in very organically so each girl is slightly individual.”
The completed hairstyles were decorated with fresh orchids for an additional dash of glamour.
Makeup: Wendy Rowe
Hair: Neil Moodie
A “New Look” Debuts, Backstage At Burberry
September 18, 2012
The excitement level backstage at Burberry kicked up a few notches when Wendy Rowe picked up a bullet of red lipstick. It was as though time stopped, except for the singular, slow-motion movement of the makeup artist grabbing Burberry’s Lipstick in Siren, moving it ever closer to Constance Jablonski’s mouth. After many years of loyalty to an all-natural, earth-tone-only makeup palette, it appeared as though Christopher Bailey had decided to make a bold beauty move. “We’re doing a Norman Parkinson woman,” Rowe revealed. “She’s retro but also modern and has a definite forties look about her.”
The crimson pout was the focal point of the look, and Rowe ensured it wasn’t too done. “It needs to look sassy and sexy,” she insisted, applying the creamy scarlet pigment with a brush and blotting it as she went. “[The Burberry woman] is a bit cheeky and flirty this season,” Rowe continued, blending in the brand’s new-for-spring Fresh Glow Foundation, which she dotted with its forthcoming Illuminator.
“Natural and definitely not too glamorous” were the house codes that Neil Moodie abided by when it came to the hair, which he prepped with Bumble and Bumble Does It All Styling Spray and gave an off-kilter center part. Running a few sections through a curling iron to create movement through the lengths, Moodie finished things off with a touch of Bumble and Bumble Brilliantine on the ends of the hair for the appearance of a healthy, moisturized mane—wear and tear from almost two weeks of back-to-back shows not withstanding.
Backstage LFW S/S13: Marios Schwab
From RoxanneG on September 16, 2012
This morning Glam delved behind the scenes into the organised chaos that was Marios Schwab. With MAC Cosmetics painting faces and lead make-up artist Val Garland at the helm, the chosen look was both striking and strong.
Creating stunning gowns for “young cosmopolitan women who are open-minded, enigmatic and adventurous” the make-up look for the Marios Schwab lady took on a Native-American theme, as thick, dark slashes underlined eyes.
We caught up with Val to get the backstage beauty secrets…
“The look is ‘think – share’ mixed with an American-Indian vibe, so it’s all about this strong, velvety slash under the eye, and then a little half-moon socket on the top lid.”
Skin was highlighted and contoured by using MAC Mineralized, brows were brushed up and even more shine was to be added to the corner of each model’s eye right before taking to the runway.
But the real focus was the harsh under-eye slashes, which were to appear “fierce and tribal”.
Three products were used to create the lines – black eyeliner and black black pencil, followed with carbon to create a thoroughly velvety finish.
Vivienne Westwood Red Label
Makeup: Val Garland
Hair: Mark Hampton
"It's so wrong it's right" - Val Garland (vogue.co.uk)
September 17, 2012 'Royalty Meets Warhol' at Vivienne Westwood Red Label
Vivienne Westwood kept up a tradition of commissioning bold beauty looks. The concept, according to makeup artist Val Garland, was “Royalty meets Warhol.”
Using MAC, she gave models a full face of color, in shades ranging from mint green to deep violet, with contrasting eyes and lips meant to create the effect of an Andy Warhol screen print come to life.
The hair was by Mark Hampton using Toni & Guy. Half of the girls wore permed wigs inspired by Queen Elizabeth II, and the other half wore shaggy hair with dip-dyed ends, inspired by Deborah Harry.
All the hair had black graphic streaks running through it, in keeping with the theme of the Warhol prints.
Source: stylebistro.com, wwd.com
Talk about Halloween & costume party makeup inspiration!
Last edited by flyme2themoon; 19-09-2012 at 05:01 PM.
Makeup: Diane Kendal
Hair: Guido Palau
September 19, 2012 Sea-Tangled Hair at Alberta Ferretti
MILAN — "Aquatic goddesses — innocent but not naive," hairstylist Guido Palau said about the hairstyle that complimented the fluid dresses in Alberta Ferretti's spring 2013 collection.
To achieve a wet, sea-tangled look, Palau, using Redken products, applied Guts 10 Volume Spray Foam into water-dampened hair. Clips were slipped into the crown to maximize the wind-swept volumes and to keep hair off the face. Naturally-dried hair was slicked with Shine Flash 02 Glistening Mist to hold the glossy, wet shine.
Makeup artist Diane Kendal, using MAC Cosmetics, started with a Prep + Prime Skin Smoother. Grease eye shadow was blended towards the brow in soft, smoky strokes. A yellowy-golden trail was dusted across the lids and shimmered underneath the eyes with Pigment in Golden Lemon. Brows were lightly accented with brown powder to continue the diaphanous, wet look.
On nails, Keri Blair, senior artist with the MAC Pro Team North America, created a custom-made lacquer. The color, painted onto roundly-filed nails, was a mixture of Pigment in Pink Opal and clear nail polish to evoke an "iridescent, mother of pearl wash, like a sequin or a mermaid tail."
The Sixties Strike Again, Backstage At Gucci
September 19, 2012
Like hemlines on a dress, you can often gauge the feeling of a season by the way Pat McGrath grooms an eyebrow. A bleaching proponent who is just as adept at sculpting full, bushy arches, McGrath is one of the industry’s best arbiters on beauty. So it goes without saying that we arrive backstage at Gucci every season—McGrath’s first big stop on what will be a whirlwind European tour—with high expectations. And they were met today, not because of what she did to brows, but what she didn’t do. “There were enough brows in New York,” the face painter said at Frida Giannini’s Spring show, leaving brows alone and referencing the minimalist, nineties beauty movement that reigned in Manhattan and required clean skin and beefed-up brows. “Let’s move on,” McGrath suggested, building a “strong eye” in contrast. “This is Milan. We’re not going to bore you with no makeup anymore.”
Applying a healthy dose of highlighter to cheekbones for a luxurious, luminous complexion, McGrath layered dark brown eye shadows and pencils across lids and underneath the lower lash line, focusing on an “almond, smoked-out” shape that anchored not one but two sets of false eyelashes. “It’s very Marisa Berenson but a little more natural,” said the woman known for applying upwards of ten lash sets to one model. The reference worked just fine for Luigi Murenu, who added seventies model and muse Maria Schiano to the inspirational mood board.
“It has a kind of sixties/seventies feeling to it—an Eastern, orientalist sophistication,” the coiffeur said of the Kiehl’s Clean Hold Styling Gel-slicked hair that he gathered into a low-slung knot at the nape of models’ necks. To give a sense of “structure and architecture” to the look, Murenu coated color-matched extensions with the same product and flat-ironed them so they resembled wooden panels, which he cut straight across and pinned into the base of the buns using John Frieda Frizz Ease Serum to smooth away errant strands. “Before they go out, they’re going to look like statues,” he surmised of the resulting stark uniformity.
Better Off Red, Backstage At Prada
September 20, 2012
After putting on a veritable makeup clinic here for Fall that included a lesson on tricolored eyes with splashes of orange, purple, and black, Pat McGrath shifted her attention due south of models’ lids for Miuccia Prada’s Spring show. “It’s a bold, bold, bold red lip,” she said of the matte crimson color she traced around mouths. “It’s all about a passionate woman [this season] and you can’t get more passionate than red.”
Building a flawless complexion with a slight highlight on the high planes of the face, McGrath groomed brows, adding a brown pigment through the eye socket and tracing the upper lash line with a stroke of shimmering white shadow. Then she focused on pouts, which were rimmed with CoverGirl LipPerfection Lipliner in Hot and filled in with its LipPerfection Lipcolor in the same shade. “It’s all about oversized,” she elaborated, keeping the color slightly outside of the lip line and drawing a white, “illustrationlike” curve along the cupid’s bow. “[It] makes them appear bigger,” a well-educated Jessica Stam pointed out of the animated element’s effect on her own lips, showing off some impressive know-how gleaned, no doubt, from years of enrollment at McGrath’s backstage beauty school. Lashes were simply curled and left sans mascara, while toes got two coats of CoverGirl’s Outlast Stay Brilliant Nail Gloss in Ever Red-dy and Reliably Red, which peeked out of the rare pair of flat or platform sandals that came down the runway without a set of socks (only Miuccia Prada can make sandals and socks look cool).
Guido Palau injected a touch of “tomboyishness” with a series of classic French twists that he deliberately made more “broken.” Busying his team with the task of blow-drying models’ hair straight with Redken Thickening Lotion 06 Body Builder to create a base level of texture, Palau himself took on the task of twisting individual updos on individual models like Guinevere Van Seenus, whose strands he gathered straight back, spritzed with Redken Quick Tease 15 Backcombing Finishing Spray, and then pinned up, letting the ends hang over her forehead like makeshift bangs. “Designers always want fringe, but they don’t want to use fake fringes,” he explained of the deceptive technique. “[They] want a girl with character,” he elaborated of Miuccia Prada specifically, pointing out that no matter the sartorial order—”there was a Japanese stroke,” Palau acquiesced of today’s collection—”it’s always Prada.”
September 20, 2012 An 'Enigmatic, Cool' Look at Max Mara
MILAN — Makeup artist Tom Pecheux created what he called a "technique-driven, ethnically-sourced" look for Max Mara's spring 2013 collection using MAC Cosmetics.
Models’ faces were massaged and then moisturized with Mineralize Charged Water Moisture Gel and Fix+, followed by a light foundation layer, set with Mineralize Foundation Loose & Mineralize Concealer. Cheekbones were delicately highlighted with taupe-colored Strobe Liquid. Then, for an unaggressive eye, no mascara or eye pencil was used and makeup was applied with fingertips to create “an enigmatic, cool girl who’s as contradictory as the collection’s mix of prints, materials and colors,” said Pecheux.
Models’ eyelids shone with earthen colors from the six-shade Forecast Eyes in Top Soil Palette — which is launching in spring 2013 — overlaid with orange and pink shades from the Right on Orange Lip Palette. Myth Lipstick sealed pouts.
Hairstylist Luigi Mureno created a metropolitan, urban coif with an African appeal, envisioning "a sporty, spontaneous girl that throws her hair back in knots and twists."
He whipped John Frieda Luxurious Volume Thickening Mousse through brushed hair and gathered it into a single twist. Fabric bandanas in complementary colors were wrapped low over foreheads and the tops of models’ ears to create a retro Seventies and Eighties feel. Mureno teased wisps of hair from the bandanas before applying a final spritz of L'Oréal Elnett Extra StrongHold Hairspray.
It's Electric: Lucia Pieroni's Techno-Bright Lip at Missoni
by Catherine Piercy
We have to admit it: We’ve been waiting for a flash of neon color on the face all week—so when models finally turned up with techno-bright lips on the Missoni runway, the effect was that much more satisfying. “I was thinking about Japanese Manga drawings,” makeup artist Lucia Pieroni said of the surreal, not-quite-pink, not-quite-orange fluorescent shade she whipped up using a combination of M.A.C. Lipmix in Magenta, White, and Orange. After painting it on with a brush, she pressed a bit of M.A.C. Red Electric pigment on top for a powdery finish that was akin to a high-voltage melon. “It’s almost like the [finish] of a felt-tip pen—you know how they’re so matte and saturated? The color is stamped on in the center and kind of bleeds out toward the edges,” said Pieroni of the almost imperceptible ombré effect. She kept the rest of the face fresh, save for a few dabs of highlighter on the cheekbones and clear gloss (M.A.C. Lipglass) on the eye. “Dry lips and sticky lids,” she said with a laugh. “These girls are going to hate me!”
Jil Sander—and Her “Keen Eye for Pure Beauty”—Make a Comeback
September 23, 2012
“I worked with Jil a lot on campaigns a long while ago—with Guinevere [Van Seenus], in the old days,” Pat McGrath said backstage at Jil Sander, where the old days all of a sudden seemed new again. Van Seenus made a surprise runway appearance this week in Milan, and today, Jil Sander returned to helm her namesake line for the first time in eight years.
“The DNA [of the brand] was always very simple, but there was still something going on with the makeup,” McGrath continued, slipping back into flashback mode when describing the Spring beauty look, which had all the same elements of nineties-era Sander—the tonal lids and lips, the filled-in arches, and the clean skin—but with a slight nudge of modernity that came by way of a creamy highlighter that was blended onto cheekbones, temples, and eyes to catch the light as girls walked the white-on-white concave runway. “There’s a lot of maintenance,” McGrath explained of the bulk of her backstage duties, which included everything from eyebrow plucking and brow recoloring to exfoliating with Olay Regenerist Pro-X Cleanser and applying SK-II Signs Eye Masks to girls in need of a little de-puffing. “They really do work!” she proclaimed of the hydrating cloth strips.
Guido Palau, another one of Sander’s longtime collaborators, was feeling similarly nostalgic. “It’s kind of funny doing Jil Sander with Jil Sander,” he joked, having previously worked both with Sander and her predecessors, including current Dior creative director Raf Simons. That said, Palau is plenty familiar with the house codes, which called for “really rich, simple, simple hair.” Cue the ponytails that hung low and long thanks to blunt-cut extensions prepped with Redken Satinwear 02 Ultimate Blow-dry Lotion and its Shine Flash 02 Glistening Mist. “It’s stick straight,” Palau said of flat-ironed strands, before gathering them into an elastic, which he “dragged down” so it didn’t sit too tight or too perfect.
“You realize how forward-thinking she was,” Palau reminisced of Sander as finished models scurried toward the dressing room to get into their clothes for the show.”She has a keen eye for pure beauty”—the kind that dominated the first half of the Spring shows and was perhaps at its best here.