Pat McGrath - Makeup Artist

[Kenysha75]

 

[Kenysha75]

MILAN - FashionTV is backstage at the D&G show where VIP makeup artist Pat McGrath is offering some vital makeup tips. "The look is all about the girls looking beautiful. We were looking at photos of Talitha Getty," she says referring to the actress who was a style icon in the 1960s. "The way she looks with the beautiful eyebrows and the freckles and fabulous eyes and we've done a very modern, fresh version of that." The look includes lots of mascara, little bits of added freckles, a little bit of blush and a lovely blushed lip.

 

[ellastica]

Bazaar US March 1995
Photographer: Craig McDean
models: Chandra North & Diane Heidkruger (aka Diane Kruger)
Hair: Eugene Soulieman
Make-up: Pat McGrath


The mid 90s marked the demise of matte make-up's dominance and it's been a shimmery, glitter fest ever since

mojopin scans

 

[ellastica]

" Glory Days "
The Face September 1993
Photographer: Craig McDean
Model: Kirsten Owen
Stylist: Liz Thody
Hair: Eugene Souleiman
Make-up: Pat McGrath



rox_yr_sox scans

 

[tentalicious]

Vogue Italia December 2011



[vogue.it]

 

[tarsha]

Vogue Italia December 2011 : Karlie Kloss by Steven Meisel (Makeup by Pat McGrath)



vogue.it

 

[Flashbang]

The Girl With The Dragon Tattoo—And Very Smoky Eyes

The suspense surrounding the release of the film adaption of the Swedish thriller The Girl With the Dragon Tattoo has been almost as gripping as the novel itself: First we learned that David Fincher (Fight Club, The Social Network) would be directing the project, then it was rumored—and later confirmed—that the not-so-Swedish Daniel Craig would star as the male lead. Next came the unexpected twist of casting the doe-eyed Rooney Mara as the film’s darkly seditious title character. And then the plot thickened even more: Legendary face-painter Pat McGrath was enlisted to be the makeup expert responsible for transforming Mara into a stone-cold, kohl-eyed computer hacker. After receiving a personal e-mail from Fincher—one that almost went overlooked—McGrath flew out to the set in Sweden to design more than 20 looks to be used in the film trilogy. Here, she talks to Style.com about bleached eyebrows, letting “raw” skin show through on camera, and why a red smoky eye reads better on screen than black.
—Kari Molvar



How did the journey with The Girl With the Dragon Tattoo begin for you? Had you met David Fincher before?

No, I had never met him before. He sent me an e-mail out of the blue asking me to do the makeup for the film in July, when everybody is on holiday and everything shuts down. I don’t think I saw the e-mail for weeks. Once I realized it was David Fincher himself, I was very excited. I immediately said yes, and the next thing I knew, I was flying out to Sweden to meet David, his team, and Rooney.


You’ve worked in many different capacities at this point, but had you done movies before?

No, this was my first. I’ve always wanted to do movies, and to start with David is amazing. It was all completely new.


Did you have an idea for how you wanted to do the makeup right away?

The moment I heard that Rooney got the part, I thought, wow, the hair has to be short and we have to bleach the brows. As soon as I saw her bone structure and her skin, I knew that I could take her look in so many different directions.



Did you do any other research for the part—or watch the original Swedish version?

I didn’t watch the original version. Instead, I immersed myself in the books for three weeks. I did a lot of talking and e-mailing with David about how Lisbeth should look, I went through punk archives, and just watched kids on the street. The goal was to be as authentic and real to the character as possible.


Rooney Mara wasn’t exactly known as the menacing type before being cast in the film. How did you transform her?

I told David, once we bleach her brows and dye her hair black, you’ll see—she’ll look threatening and otherworldly. She’ll become this dark, androgynous, and mysterious loner. And after the brows, I thought, oh my gosh, yes. The final look is very striking.


But how did you avoid that clichéd goth makeup effect?

It had to look like Lisbeth did the makeup herself. Not like a makeup artist did it for her. If you’re this ultra-tomboy, you’re not comfortable getting the perfect face in the mirror, right? So I knew that too much makeup would take away from that. Instead, we kept the skin really clean and raw and focused on shaping the eyes.


Her smoky eyes are no joke. How did you create that intensity?

We came up with about 200 different versions of this reddish smoky eye with many different dimensions. The trick was to take black and brown eye colors and add a tiny drop of red—that created a look that was vulnerable but hard and strong. I used a lot of CoverGirl LiquilineBlast in Black Fire and Brown Blaze, then highlighted with CoverGirl Intense ShadowBlast in Brown Bling. For the touch of red, I smudged in Dolce & Gabbana The Eyeshadow Quad in Vulcano—the shade on the lower left side—and CoverGirl Eye Enhancers 1-Kit Eyeshadow in Forever Fig.


And about that “raw” skin.

There was no foundation. I wanted her skin to be translucent and for it to change color in the cold. In fact, the most beautiful scene is when she was actually very cold.


Seriously, no foundation at all?

If you have perfect skin, it’s better not to see products. And I thought, why would this girl spend five hours putting on makeup? That wouldn’t track with the character. Also, Rooney’s got beautiful skin. So I just massaged my Olay Regenerist Deep Hydrating Regenerating Cream and SKII LXP Ultimate Revival Cream into the skin, so I could see the areas where it would get red. Then I did a tiny bit of contouring around the eyes and cheeks with Dolce & Gabbana The Makeup Blush in Tan.


How does the experience of working on set compare to being backstage?

It was really fun, and a totally different pace. We were all in a studio together; David had a camera and he was taking pictures. It was about experimenting and letting go. We spent hours morphing and changing Rooney’s look, playing with ideas. It was really amazing to watch the attention to detail. David and I would talk about her hands for an hour! There was that kind of attention to character.


I’m guessing you don’t get that kind of time backstage?

The way we work in fashion, we have to do one look 20 or 60 times. We have to find the character once we see a shoe or the color of a background screen. Everything goes so much faster in fashion. So it was great to study a person and a character.


How did Rooney like being experimented on?

Rooney, she loved it! She really enjoyed it, the whole process. She was a real joy to work with. She handled the piercings, shaving her hair short—she just embraced the character. And she loved all the makeup, from the natural to weird to the beautiful. She really became that character. In the end, we created 26 different versions of Lisbeth for all three of the films.


It’s already been hinted in the press that Mara’s look is a flawless interpretation of the original character. How do you feel about watching the premiere?

I’m really excited. But nervous at the same time. I’m taking a friend and we’re going together.


What’s next for you? Any plans to do another film?

Well, there have been a couple of offers, so yes. But let’s see what happens after we have some meetings! I think it would be so inspiring to work on more films, and to create many more faces.

style.com

 

[iluvjeisa]

She's just brilliant at what she does.

 

[ALAUU]

Wow, I'm so happy for her. I had no idea she did the makeup for the Girl with the Dragon Tattoo. It sounds like a fabulous opportunity for her.

 

[cottonmouth13]

Vogue Italia July 1997

Photographer: Steven Meisel
Fashion Editor: Bill Mullen
Hair: Garren
Make-Up: Pat McGrath
Models: Danielle Zinaich and male model



Supplement (Cahier Des Defiles)



Scans by me

 

[tarsha]

Balenciaga S/S 2012

Models: Laura Kampman, Juliane Grüner, Rosie Tapner & Kirstin Liljegren
Photographer: Steven Meisel
Stylist: Marie-Amélie Sauvé
Graphic Design: M/M Paris
Makeup: Pat McGrath
Hair: Guido Palau





facebook/balenciaga

 

[tarsha]

Vogue Italia January 2012 : Caroline, Daria, Paula by Steven Meisel



The Collections on IVC
Photographed by Steven Meisel
Styled by Karl Templer
Makup by Pat McGrath







vogue.it

 

[tarsha]

vogue.it

 

[tarsha]

Roberto Cavalli S/S 2012

Models: Naomi Campbell, Karen Elson, Kristen McMenamy & Daphne Groeneveld
Photographed by Steven Meisel
Styled by Panos Yiapanis
Hair by Guido Palau
Make-Up by Pat McGrath





robertocavalli.com via Chanelcouture09

 

[Melancholybaby]

Vogue Italia August 1997 cover

scanned by me

 

[Melancholybaby]

Vogue Italia August 1997
The Young Girls by the Sea
Photographer: Steven Meisel
Fashion Editor: Lori Goldstein
Models: Amy Lemons, Audrey Marnay, Maggie Rizer
Make-Up: Pat McGrath
Hair: Garren

scanned by me

 

[VogueGirl8910]

Vogue Italia February 2012: Laura Kampman by Steven Meisel


designscene via tarsha

"Keepin' It Surreal"
Model: Laura Kampman
Photographer: Steven Meisel
Stylist: Karl Templer
Hair: Guido Palau
Makeup: Pat McGrath
Manicure: Jin Soon Choi
Set Design: Mary Howard



vogue.it via ammon

 

[heelscatchfire]

^ that ed and cover are amazing! its one of my favorite Vogue Italia, covers in a while.

 

[heelscatchfire]

CRASH #58
THE BEAUTY: SPRING 2012
photographer: Schohaja

steelmachines

 

[cul8tr]

Vogue Italia January 2002
Portraits
Ph: Steven Meisel
Models: Liya Kebede, Christy Turlington, Carolyn Murphy, Linda Evangelista,Anne Catherine Lacroix, Stella Tennant, Carmen Kass, Jacquetta Wheeler, Anouck Lepere, Karen Elson, Caroline Ribeiro, Valerie Sipp, Erin Wasson, Liberty Ross, Hannelore Knuts, Bridget Hall, Mariacarla Boscono, Maria Carmen Hillestad, An Oost, Trish Goff, Amanda Moore, Gisele Bundchen, Devon Aoki, Natasha Vojnovic, Naomi Campbell, Shalom Harlow, Meggie Rizer, Marisa Berenson, susana Macasova, Stephanie Seymour, Donna Mitchell.
Fashion Editor: Lori Goldstein
Make-up: Pat McGrath



by me