A hybrid of sweetness and naughtiness was the description MAC Cosmetics’ lead makeup artist Lyne Desnoyers used to describe the look for Erin Fetherston. “The very first images that Erin gave me were of the photographer Ellen von Unwerth,” said Desnoyers, “as well as this very beautiful neo-Sixties eyeliner that she had in mind.” To complement the inspiration, Desnoyers created a fresh palette with creamy highlights. She created a custom color for the lips and cheeks, mixing the brightest orange with the most subtle.
Hair, by Odile Gilbert for Kérastase, was fashioned around a headband. Gilbert created a messy wave using Kérastase mousse and hair spray to give it texture.
Katie Hughes for Butter London finished off the nails with a metallic shade called Lillibit Jubilee. “[Erin Fetherston] wanted the nails to appear like an accessory,” said Hughes, “wanting the nails to be a part of the outfit.”
BCBG Max Azria
Makeup: Val Garland
Hair: Laurent Philippon
Nails: Jan Arnold
Backstage at BCBG Spring 2013
To complement the “femme fatale-inspired” collection, Val Garland for Temptu, created the face of a “sexy, late-night girl with lived-in makeup.” Garland began by applying primer and concealer around the eye. Next, she cleaned and shaped brows and applied black gel eyeliner on the upper lid, which was then slightly smudged. Lashes were coated in black mascara. For the complexion, cheeks were contoured with a “warm glow” bronzer and highlighted with a slightly shimmery Champagne shade. “It all washes together,” said Garland. “It’s an everyday look. It takes five minutes.” Lips were washed with a soft rose shade and skin was perfected with Temptu Airpod Foundation, which Garland said was both malleable and sheer, making it easy to work with. About the focal point of the look, Garland quipped, “[It’s] I’ve got my eye on.”
Laurent Philippon, who styled hair on behalf of Bumble and Bumble, created the “sexy texture” of a girl who “has bed head but still takes good care of her hair.” Hair was parted in the center, but the part was left slightly zigzagged for a casual feel “with purpose.” It was then prepped with thickening spray and blow-dried. Before being set into pin curls, Philippon added styling wax on specific pieces of hair, then sprinkled them with hair powder, which adhered to the wax for a dash of “messiness.” After the girls had their makeup done, the pins were taken out and hair was left to fall loose around the face. “It’s a cool girl with a sense of style,” he said.
Nails, done by Jan Arnold, cofounder of CND, meant to contrast the bondage elements in the collection. “It’s a virgin nail,” said Arnold, who coated fingertips in Pink Lily polish and Air Dry top coat for a “high gloss, juicy, wet finish.” Arnold said the CND shade used for the show may be soft, but it has a concealing, perfecting effect and in the end, appears “almost like lingerie.”
Makeup: Jen Navaro
Hair: Sabrina Michals
Backstage at Lisa Perry Spring 2013
To echo the mod feeling of her colorful collection, Lisa Perry opted for a beauty look that referenced the Sixties, without feeling overly retro.
“With so much color in the clothes, we wanted to tone the look down,” said Perry, who was inspired by all things geometric and celestial for her most recent collection. “I’ve always loved dark eyes with a pale lip and bigger hair.”
Despite deriving inspiration from bombshells like Sophia Lauren, Twiggy and Brigitte Bardot, lead makeup artist Jen Navaro, of Jump Management, said she purposefully kept the look “modern. We wanted to bring the Sixties into 2012.” For the eyes, Navaro blended Illamasqua’s matte chocolate brown Powder Eye Shadow in Wolf into the crease and swept a “peachy shimmer” across the lid. She then used MAC Blacktrack gel Eyeliner to create a “Sixties” wedge. “It’s not a wing,” said Navaro, who elongated the eye line with a thick black edge that connected the top to the bottom. To finish off the eyes, Navaro applied two to three layers of Maybelline Falsies mascara. Lips were given a playful coating of “bubblegum-hued” MAC lipstick in Saint Germain, then patted down for a matte effect. Faces were kept soft and structural, as Navaro avoided any heavy blush or bronzer and instead opted for a “deeper foundation shade to sculpt the face.” Finally, a pop of peach blush was added to the apple of the cheek.
Hair, styled by Sabrina Michals for Bumble and bumble, was given a dose of palpable density. Michals used Bumble’s Thickening Spray and Spray de Mode, then blow-dried hair to infuse “flat volume.” For added height, she back-combed and laced hair, then set the top with rollers to create a “beautiful wave,” which ran down the back of the head. The style was then brushed “smooth and straight” above the ears for a bit of polish.
Richard Chai Love
Makeup: James Kaliardos
Hair: Kevin Ryan
Richard Chai Love Brings Subtlety to the Graphic Eye
Posted by Rachel Adler
September 06, 2012 4:00 pm
With New York Fashion Week under way, we can’t wait to see what trends will be hitting the runways to inspire us for the Spring/Summer 2013 season. James Kaliardos, the key artist for MAC Cosmetics who led the team at Richard Chai Love, said that he hoped to see stronger colors on the eyes this season — and we couldn’t agree more.
For the look for Richard Chai’s show, he created a “soft, 60s eye with clean sporty skin.” Using a new MAC Fluidline Liner in “dirty blonde” that he described as “brow-friendly” he created a very graphic, 60s line in the crease of the eye and a “floating line” on the top, so that the liner wasn’t quite hitting the eyelashes but floating around the shape of the eye. He noted that he liked the idea that it wasn’t a black shadow, making the look a bit softer. For the “sporty skin” Kaliardos created a “perfect” base using foundation and concealer where needed, but noted that the look for spring is subtle and sheer — you don’t want to layer on the makeup. To finish the makeup look, he used MAC lip conditioner and a bit of Dim Lip Erase to “beige out” the lip look.
On the hair, Kevin Ryan led the team for Aveda, stating that the look was “fairly streamlined with a sporty feel.” The look was a simple yet sleek, something that could easily be pulled off on the streets. Each boy and girl had a deep part that was put “in the wrong place” and moved around so that the look wasn’t too retro or too modern. Ryan combined a mixture of gel and Brilliant spray to give the hair a shiny look (and stay in place) and slicked it back.
To complete the looks, the nails were polished with Julep’s Sienna gold polish and a matte top coat, giving them a texture that you couldn’t quite place, yet complimenting all of the pale neutrals in Richard Chai’s line.
Finger-painting And “Bad Hair,” Backstage At Peter Som
September 7, 2012
Pastel-colored hair streaks have enjoyed a longer stay of execution on the runway then some members of the style set (this one included) are willing to believe. So when we arrived backstage at Peter Som this morning only to see that they would be making another appearance here for Spring, we definitely took pause. And Wella Professionals global creative director Eugene Souleiman noticed. “It’s good clothes, bad hair,” he admitted, explaining that his goal was to counterbalance Som’s “very rich-looking” collection with something deliberately “distressed, vintage…and patchy.” So he collaborated with Wella color ambassador, Aura Friedman, to work mineral-hued dyes—tourmaline, amethyst, teal, denim, and dusty rose—into a series of long weaves. “I wanted it to feel very spontaneous,” Souleiman said, gluing the hairpieces into “unusual” parting patterns while prepping strands with Wella’s Ocean Spritz Beach Texture Spray to create a matte feel. “It’s meant to be visual, not technical,” he insisted, pointing out that application is key when it comes to keeping pops of color from looking less contrived, and more “tough and cool.”
Makeup artist Tom Pecheux also had juxtaposition on his mind. Describing Som’s clothes as “more grown up,” Pecheux was intent on keeping faces playful. “When you become an adult, you do everything for a reason; kids do everything for no reason. Like, [their] drawings are amazing,” he said, explaining the thought process behind the finger-painted, “innocent” pastels he used on models’ eyes. Dusting lids with MAC’s forthcoming Eyeshadow in Sunshine, a sunny yellow, Pecheux applied another wash of pigment through the crease in varying shades of orange, blue, green, pink, and mauve. As a finishing touch, he left a darker thumbprint right below brushed-up brows, using a more concentrated dose of one of five corresponding MAC Paintsticks. Mouths were kept nude with varying slicks of MAC Lipstick in Luxe Natural and Posh Tone. As far as who got what eye-shadow combination, Pecheux left that to models’ whims. “As soon as it becomes too studied, it loses the innocence.”
Peter Som Paints It Mint Green And Orange
September 7, 2012
“Nail art is not going away,” Deborah Lippmann told us last season, and if there’s one thing we can already report from the backstage trenches after two days of shows, she continues to be correct for Spring. Lippmann brought her own high-design touch to Kate Spade today, where she churned out a series of multicolored gingham prints with polish, but it’s a continuation of the artful French manicure that she previewed at Donna Karan for Fall that seems to have staying power. A mattified, black-on-cream iteration stole the show at Tanya Taylor yesterday, and this morning at Peter Som, it was an orange-on-mint green version that had everyone talking. Custom-created for Som, two coats of Zoya’s pastel lime Neely were topped with a bold stroke of the mandarin Sharon. Both will be sold in a trio kit with Jacqueline, a creamy beige, starting…now: The limited-edition collection launched right after Som’s 10 a.m. show and will be available at www.zoya.com while supplies last.
September 6, 2012 Backstage at Costello Tagliapietra Spring 2013
Maki Ryoke, lead makeup artist for MAC Cosmetics, aimed to create an ethereal beauty reminiscent of a porcelain doll for the Costello Tagliapietra show. “I want you to gasp when you see it,” said Ryoke. Ryoke didn’t want showgoers to see the makeup, but to see the skin. She started with MAC’s Face and Body Foundation, which was one shade lighter than each model’s skin tone. To achieve the porcelain appearance, Ryoke used MAC’s Cream Color Base to highlight the high planes of the face, inner corner of the eye, outer cheekbone, top of the lip and the bridge of the nose. Lips were given a feminine stain with MAC’s Lady at Play.
Hair by Nelson Vercher for René Furterer was built around a frizzy texture. Vercher used René Furterer mousse, volumizing conditioning spray and dry shampoo to construct the sexy bedhead.
To complement the delicate makeup, lead manicurist Michina Kolde topped off the nails with Essie for Beauty.com’s transparent shade, Minimalistic.
Carolyn Murphy—And The Five-Step Red Lip—Backstage At Jason Wu
September 8, 2012
There was no mistaking Jason Wu’s intentions backstage for Spring, where models like Ming Xi, Cara Delevingne and Karlie Kloss were letting their nails and toes dry with two glistening black coats of OPI Suzi Skis in the Pyrenees, lips a perfect shade of cherry red, hair slicked into a masculine/feminine quiff. “It’s Helmut Newton,” hairstylist Odile Gilbert confirmed of the “expensive, elegant, but not vulgar” updos Wu asked her to create for the occasion. It would make sense, then, that the designer would get one of the famed photographer’s regular subjects to open his show.
“She’s special,” Gilbert joked as she tended to supermodel Carolyn Murphy’s blonder-than-usual strands. (”I’ve been surfing,” the Montauk regular confirmed of her freshly sunlit locks.) Prepping hair with Kérastase Elixir Ultime to impart a smooth texture while treating damage, Gilbert created a deep side part, slicking one side back and weaving what she called an “African braid” up the back with the bulk of the lengths, keeping her plait very close to the scalp. The other side offered up a feminine contrast to the masculine severity via a single glossy wave, which Gilbert secured with a halo of Kérastase Double-Force Hairspray. “The shine makes it modern,” she surmised of the finished product.
Makeup artist Diane Kendal continued the Helmut homage with a really strong crimson mouth and equally fierce brows. Starting with a freshly cleansed complexion courtesy of a steamed mask of Sunday Riley Good Genes treatment mixed with its Ceramic Slip cleanser plus a massage of Riley’s hydrating Juno Serum, Kendal created “fresh, dewy” skin that was deliberately contoured—a staple of Newton’s many nineties-era muses. Dusting MAC Sculpt & Shape powder in Taupe beneath cheekbones, Kendal dotted the apples with its Blush in Poised, adding highlights with MAC Iridescent Powder in Silver Dusk on top. Eyes were treated to a similar dose of Sculpt & Shape Powder in Taupe through the crease, which Kendal applied after a wash of its Pigment in Golden Yellow. An elongated stroke of black crème liner on the top lash line added definition to multiple swipes of MAC Haute and Naughty Mascara in Too Black before brows were beefed up to “boyish” proportions.
As for that lip, it was a work in process with not one, not two, but five different steps. Kendal coated the entire pout with MAC Lip Pencil in Cherry, using its Lip Pencil in Vino, a darker wine stain, just around the outline. Then came a dose of MAC Lipstick in Lady at Play, a pink hue, which she topped with its Lipmix in Process Magenta, only in the center, and a sprinkling of its Pigment in Neo-Orange. Do try this at home.
Rag & Bone
Makeup: Gucci Westman
Hair: Guido Palau
“Raw But Beautiful” Hair And Makeup, Backstage At Rag & Bone
September 8, 2012
“Their girl, she doesn’t do a lot with her hair,” Guido Palau said backstage of David Neville and Marcus Wainwright’s Rag & Bone woman who, truth be told, typically favors a naturally languid, bed-head look. For Spring, the story wasn’t really that different. “It’s masculine/feminine, wet/dry, nineties minimalism,” Palau explained of the slicked-back in the front, rough-dried in the back hair he conceived with the designers. A dual texture was key to the look, which the Redken creative consultant prepped with its Guts 10 Volume Spray Foam Mousse, adding a finger-combed bend with Sultra’s The Bombshell oval curling iron before coating front panels with Redken’s Hardwear 16 Super Strong Sculpting Gel.
Makeup artist Gucci Westman kept things dually natural with “raw but beautiful” skin and an “androgynous” brow. Road-testing Revlon’s forthcoming PhotoReady BB Cream for a breathable application of light, complexion-enhancing coverage, the Revlon global artistic director dabbed her new-for-Spring Baby Stick in Pink Passion, a multitasking sheer pigment, onto models’ cheeks for a barely perceptible flush. Eyes were lined with its ColorStay Eyeliner in Brown before getting a few slicks of Grow Luscious Mascara just on the top lashes, after which Westman focused her attention on arches, which were filled in and brushed up with Revlon’s Brow Fantasy pencils. Mouths were slightly stained and then moisturized with Dr. Lipp’s Original Nipple Balm for Lips.
Westman asked one specific thing of her team as the un-air-conditioned backstage area at the 34th Street post office began to swelter: “No highlights or shimmery stuff.” The objective, she explained, was to get to the heart of old black-and-white photographs of Linda and Christy. “I didn’t want it to feel too cosmetic-y,” she clarified. “Sometimes it’s nice to see just skin.”
Creatures of the Wind
Makeup: James Boehmer
Hair: Odile Gilbert
September 6, 2012 Backstage at Creatures of the Wind Spring 2013
James Boehmer, Nars’ global director of artistry, was inspired by the idea of “opposing forces” — a theme for Creatures’ spring collection — for the beauty look he created. To complement the line, which Boehmer called “tailored, constructed” and “immaculately detailed,” he wanted to make sure the models didn’t feel too prim. Inspired also by Japanese Godzilla movies and manga comics, Boehmer set out to create “a strong powerful woman who feels real,” yet had a feeling of fantasy.
“It’s the idea of monstrous beauty,” said Boehmer. “It’s a hot girl on the edge of punk.” Boehmer created a “cranberry matte, smudged, transparent eye” with Nars lipstick and featured an “aggressive” silver pencil liner on the bottom of the eyes to open them. Skin — on which Nars tinted moisturizer was applied — was kept “glowing and radiant” and given a “lit-from-within effect.” Lips were also given an effect, rather than a color, according to Boehmer, who described the pout he fashioned as one that looks like “you’ve bitten your lip, or someone else has. It’s slightly chapped and looks like you’ve been making out.” Mascara was used on both top and bottom lashes to finish things off.
Also taking a cue from Japanese culture, Kérastase’s Odile Gilbert gave the illusion of chopping hair by using an “origami technique,” which forwent the use of scissors. The look, which provided each model with bangs and shorter, straightened hair sections in the front and longer pieces in the back and on the sides, required “a lot of product,” according to Gilbert, who used a cocktail of Kérastase’s Double Force Hair Spray, Nectar Thermique and Elixir Ultime Thé Imperial throughout the style. Because treatment oils were used in the look, Gilbert said, “When the show is finished, [models] have better hair than when they started.” To achieve the cut-hair effect, Gilbert crossed hair and pinned it on top of itself, folding pieces one on top of the other from the side to the back and from the back to the front, she said. “It’s cutting hair without cutting hair,” said Gilbert, who also used a straightening iron on the look. Each model was then fastened with a delicate hair net — black for those with darker hair and nude for blondes — which was tied around their necks. Excess hair was straightened and left to hang out of the net along the nape of the neck.
Makeup: Francelle Daly
Hair: James Pecis
September 8, 2012 Backstage at Yigal Azrouël Spring 2013
Yigal Azrouël’s spring collection drew inspiration from nature’s architecture. “How this translates to hair is very abstract,” said James Pecis, lead hairstylist for Bumble and bumble, “but it’s meant to be clean and natural.” Using Bumble and bumble Thickening Spray for texture, Pecis dried the hair with his fingers and created a low bun by twisting the ponytail. “It makes sense to everyday women’s fashion,” said Pecis, “because you don’t want something too thought out.”
Francelle Daly, lead makeup artist for MAC Cosmetics, followed suit by using earth, wind, fire and water for her palette. To achieve the light look, Daly sparingly used MAC’s Face and Body Foundation. MAC’s Luna Cream Colour Base was applied to the high planes of the face, forehead, bridge of the nose and cheekbones to give a subtle glow. “For color I was very inspired by rocks and minerals,” said Daly, “as well as fossil carbon coal for the eyes, which is a very true black.” Marrying the natural and utilitarian girl, Daly used no mascara and only a bit of lip balm.
Makeup: Neil Scibelli
Hair: Tommy Buckett
Nails: Deborah Lippmann
Spring 2013 is all about bright eyes and even brighter ensembles for Kate Spade! Known for her cheerful designs, Spade’s spring 2013 line was jam-packed with bold color in feminine hues, with a lively beauty look to match. We went backstage to get the complete breakdown — from hair to nails — so you can try your hand at creating the couture look at home! And if you’re intimidated by the winged-out teal shadow, makeup artist Neil Scibelli, who created the edgy makeup, offers a tip: “The look is totally wearable if you pair it with something funky, and just be confident in it!”
"We're doing all sorts of fun electric blues and mint greens, winged out to the end of the eyes," said Scibelli, who used Jouer products. "We went for a super rocker chic feel, while still keeping it classic." Mission accomplished!
For the day-glo eyes, Scibelli layered on a white eyeliner before sweeping on an electric blue shadow. "The white really ties in with the collection. There are pops of white in the polka dots and the nails, so we wanted to accentuate that on the eyes," he said. "It looks very cool when paired with such a shocking eye color as well." Jouer's Cheek and Lip Tint in Peony ($20; jouercosmetics.com) and the Luminizing Moisture Tint ($38; jouercosmetics.com) gave models a lit-from-within glow, and a combination of Jouer's Hydrating Lipstick in Olivia (available spring 2013) and the Lip Enhancer ($14; jouercosmetics.com) provided the finishing touch.
"We went for a rockabilly, retro feel with a fun, Gwen Stefani vibe," said hairstylist Tommy Buckett for Garnier. "The collection is very colorful, so we wanted to go with that feeling."
Buckett created the retro curl by spiraling hair around his fingers and secured it with a hair pin. He then backcombed roots with a bristle brush, like Mason Pearson's ($190; nordstrom.com), then used it to smooth over the volume before fastening the rest of the hair into a ponytail. The mirror-like shine is all thanks to a few drops of Garnier's Moroccan Sleek Oil ($6; drugstore.com), and a mist of the Serum Spray ($6; drugstore.com) along the sides of the head gave the style a sleek finish.
Last but certainly not least, nails were formed into stiletto-shaped talons and adorned with a gingham print. "Since there was a lot of gingham in the clothes, we started playing with the idea of doing a nail in the same print," said Deborah Lippmann, who created the look. "We tried to really replicate the Kate Spade fabric into the nail."
Lippmann began by lacquering on a solid base coat of the white Amazing Grace ($16; deborahlippmann.com), then painted the gingham print using Lara's Theme ($16; deborahlippmann.com). She also used the pink and yellow hues from her neon lacquer kit ($45 for five nail polishes; deborahlippmann.com) and the yet-to-be-released My Prerogative ($25 for three; deborahlippmann.com), a true midnight navy. "You can use strips of tape to get the straight lines," Lippmann suggested. "Just be sure to let the first coat dry completely before sticking the tape to your nail."
How awesome are those gingham print nails!? Next time I wear gingham, I'll have to match my nails.
NARS created the look for this evening’s Helmut Lang runway show. LEAD ARTIST: Hannah Murray for NARS Cosmetics. TREND: Fresh skin and lived-in makeup.
DESIGNER INSPIRATION : “Juergen Teller’s images of Annie Morton came to mind,” said Michael and Nicole Colovos, the husband and wife designing team behind the label. “An off-duty ‘90s girl on a Sunday morning with slept-in, smudged eyes and scrubbed polished skin – a cool, effortless beauty.”
LOOK: “The clothes had a lightness to them with lots of color and print and layering so we wanted to toughen the girls up a little but do it in a fresh, believable way,” said Murray. “The focus is really on the skin, which is fresh, sporty and scrubbed clean.”
HOW TO WITH NARS MAKEUP
· NARSskin Luminous Moisture Cream
· Pure Radiant Tinted Moisturizer SPF30/PA+++
· Radiant Creamy Concealer (New for 2013! For a similar effect, try Concealer)
· Light Reflecting Setting Powder – Pressed (New for Spring 2013! For a similar effect, try Albatross Highlighting Blush)
· Hyde Park Satin Lip Pencil – used on cheek (New for Spring 2013! For a similar effect, try Maldives The Multiple)
· Aigle Noir Soft Touch Shadow Pencil
· Via Veneto Larger Than Life® Long-Wear Eyeliner
· Larger Than Life Volumizing Mascara
· Cythère Velvet Gloss Lip Pencil – used on eyes (New for Spring 2013! For a similar effect, try Hollywoodland Soft Touch Shadow Pencil)
· Concealer – used on lips
· Bianca Pure Sheer SPF Lip Treatment
All products, except where noted, are available at narscosmetics.com.