Pat McGrath - Makeup Artist

[Melancholybaby]

W September 2012
Spellbound
Photographer: Steven Meisel
Stylist: Edward Enninful
Models: Anniek Kortleve, Hanne Gaby, Ethan James, Mae Lepres, Meghan Collison, Peyton Knight, Yuri Pleskun, Aaron Vernon, and Rachel Trachenburg
Make-Up: Pat McGrath
Hair: Guido Palau
Set Designer: Mary Howard


glossynewsstand tumblr

 

[Melancholybaby]

Vogue Italia September 2012



Face The Future
Photographer: Steven Meisel
Stylist: Karl Templer
Model: Carolyn Murphy
Hair: Guido Palau
Make-up: Pat McGrath
Set Designer: Mary Howard



vogue.it via MagFan

 

[Melancholybaby]

Vogue Italia March 1998



I Have Seen Things...
Photographer: Steven Meisel
Stylist: No mention in the ed or contents page
Model: Eugenia Silva
Make-Up: Pat McGrath
Hair: Garren


fmd.com & vogue.it

 

[flyme2themoon]

Gucci S/S 2013
Makeup: Pat McGrath
Hair: Luigi Murenu

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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.

Source: stylebistro.com, style.com

 

[flyme2themoon]

Prada S/S 2013
Makeup: Pat McGrath
Hair: Guido Palau

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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.”

Source: stylebistro.com, style.com

 

[flyme2themoon]

Jil Sander S/S 2013
Makeup: Pat McGrath
Hair: Guido Palau

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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.

Source: stylebistro.com, style.com

 

[flyme2themoon]

Dolce & Gabbana S/S 2013
Makeup: Pat McGrath
Hair: Guido Palau

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Sexy, “Sicilian Summer” Beauty, Backstage At Dolce & Gabbana
September 24, 2012 10:16 am

Domenico Dolce and Stefano Gabbana’s ever-present homage to their native Sicily makes for a reliably gorgeous hair and makeup look, as there’s not much that can top the southern Italian island’s reputation for classic, sexy beauty. “It’s Sicilian summertime,” Pat McGrath said of her specific direction for Spring, which meant a pink, rose, and apricot flush paired with an elongated eye. “There’s nothing heavy,” she emphasized. “It’s about shape, glow, and perfect skin.”

Creating a base with Dolce & Gabbana The Makeup Luminous Liquid Foundation, McGrath indulged in some blush—three of them to be exact, in Sole, Mocha, and Apricot—which she swept across cheekbones and up toward the temple for a warm radiance. “[The designers] also showed me this fab picture from Avedon,” she said, motioning to a black-and-white fifties-era glamour shot that hung from a mirror and prompted her to draw on “a more modern version” of a cat-eye that was extended from upper and lower lash lines that had been completely rimmed using a combination of Dolce & Gabbana’s Crayon Intense Eyeliner in Chocolate and its Khol Pencil in True Black. “Use the pencil first,” McGrath advised for achieving the perfect flick, which she initially drew on with the Khol Pencil and then retraced with its liquid Glam Liner in Black Intense for added opacity and drama. Lids received a dusting of pale gold shadow from Dolce & Gabbana’s Eyeshadow Quad in Desert before McGrath dabbed its Classic Cream Lipsticks in Chocolate and Iconic onto mouths, blotting with her fingers as she went to leave a faint wine stain that was slightly darker around the cupid’s bow. “There’s a lot of bold colors in the collection,” she explained; no need to overdo it on the face.

“Dolce really understands the beauty of a woman,” Guido Palau effused as he added to the narrative with an “updo,” as he called it. “It’s not really a twist or a knot,” he insisted of the folded and pinned coif that was decorated with 79 different silk scarves, one for each model that walked in the show. “There’s a lightness and desirability,” he continued of strands that were rough-dried with Redken Aerate 08 Bodifying Cream Mousse and meant to resemble “how a Sicilian woman would just tie her hair up in a scarf.” As Josephine Skriver held her printed accessory close to her head, Palau tied it at the nape of the neck and slightly askew, making sure the hairline was visible. “The rough texture makes it softer and more feminine,” he said, offering up a few pointers for proper scarf-wearing, including this one: “Make sure it’s touching the ears,” he added, positioning the crisp fabric accordingly. “That helps loosen the idea.”

Source: stylebistro.com, style.com

 

[flyme2themoon]

Lanvin S/S 2013
Makeup: Pat McGrath
Hair: Guido Palau

September 28, 2012
An 'Easy' Look at Lanvin

PARIS — “It’s just a very easy look,” said makeup artist Pat McGrath backstage at Lanvin.
She swooshed some brown-gray cream shadow around models’ eyes and used black eyeliner on the inside of their peepers. The top trace was then wiped away “to make the girls look very cool and beautiful,” said McGrath, who applied foundation powder to skin and a tiny amount of concealer to lips.

“[It is] as if you could do the makeup yourself,” said McGrath.

Hairstylist Guido Palau also went for an easy look, teasing the front of models’ hair for texture and leaving the rest hanging freely. He used a touch of hairspray.

Source: stylebistro.com, wwd.com

 

[Heroin_Chic]

I like her Dolce & Lanvin makeups - so fresh! Great work, Pat!

 

[Melancholybaby]

Vogue Italia October 2012



Blow-Up
Photographer: Steven Meisel
Stylist: Karl Templer
Model: Meghan Collison
Make-Up: Pat McGrath
Hair: Guido Palau
Set Designer: Daniel Graff




vogue.it via MagFan

 

[Melancholybaby]

US Vogue November 2012
The New Girl
Photographer: Steven Meisel
Model: Kate Upton
Stylist: Tonne Goodman
Hair:Garren
Make-Up: Pat McGrath


Digital Edition Vogue 11/2012 via Mat Cyruss

 

[testinofan]

Vogue Italia Nov2012

Miss Kate Upton
Photographer: Steven Meisel
Fashion Editor : Carlyne Cerf de Dudzeele
Hair : Oribe
Make-Up : Pat McGrath
Set Design : Mary Howard
Model : Kate Upton







vogueit.com

 

[tentalicious]

Vogue Italia December 2012

High Gloss
PH: Steven Meisel
Editor: Karl Templer
Models: Vanessa Axente & Marlon Teixeira
Hair: Guido Palau
Make-up: Pat McGrath

[vogue.it]

 

[Melancholybaby]

Prada Spring/Summer 2013 Campaign
Photographer: Steven Meisel
Models: Amber Valletta, Raquel Zimmermann, Sasha Pivovarova, Saskia de Brauw, Eva Herzigova, Kirsten Owen, Irina Kravchenko, Irene Hiemstra, Maartje Verhoef, Vanessa Axente & Sung Hee Kim
Make-Up: Pat McGrath
Hair: Guido Palau


10magazine.com via kevinnn

 

[VogueGirl8910]

The Face September 1992
"Disco"
Models: Camilla Rigg, Marina Ha & Robert Hewett
Photographer: Kate Garner
Stylist: Jane How
Hair: Jimmo Salako
Makeup: Pat McGrath



lylascans.tumblr.com

 

[Melancholybaby]

Vogue Italia January 2013



Fei Fei
Photographer: Steven Meisel
Model: Fei Fei Sun
Stylist: Lori Goldstein
Hair: Guido Palau
Make-Up: Pat McGrath
Nails: Jin Soon Choi



vogue.it via Mat Cyruss

 

[Melancholybaby]

Vogue Italia February 2013




Wardrobe Fittings
Model: Naomi Campbell
Photographer: Steven Meisel
Stylist: Karl Templer
Make-Up: Pat McGrath
Hair: Guido Palau
Set Designer: Mary Howard


lekiosk via tentalicious & glossynewsstand tumblr via Greenway

 

[Melancholybaby]

W March 2013
Starchitecture
Photographer: Steven Meisel
Model: Stella Tennant
Stylist: Marie Amélie Sauvé
Hair: Guido Palau
Make-Up: Pat McGarth
Nails: Jin Soon Choi


zinio via Mat Cyruss

 

[flyme2themoon]

Anna Sui F/W 13.14
Makeup: Pat McGrath
Hair: Garren
​

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February 14, 2013
A Sixties Beauty at Anna Sui
By Jayme Cyk

New Wave French films from the Sixties set the scene at Anna Sui.

“The main inspiration is a strong face,” said Pat McGrath for Cover Girl. Creating a Sixties cat eye, she applied a black pencil along the eyelid. She exaggerated the graphic shape by increasing the width and leaving the tip about a half-inch from the brow. On the bottom lash line, she again used a black pencil to generate a dotted line. “Looking at the colors in the collection, they were very rich,” said McGrath. “Anna wanted a monochromatic face.” To top off the lip, McGrath applied a blush-colored gloss.

“We found a picture of Catherine Deneuve from the Sixties,” said Garren of Garren New York Salon. “She used to pull her hair up into a ponytail, then she would tease it and then she would flip it. So we said how do we want to do this differently?” Pulling the hair back into a ponytail and rolling it under into a big bouffant was Garren’s interpretation of Deneuve’s look. “It looks fresh and young,” said Garren, “and it gives it that Sixties vibe.” The girls with shorter hair were given full frontal bangs and hair was teased at the crown.
To finish, nails were completed with a golden glitter shade from Anna Sui’s cosmetic line.

Source: style.com and wwd.com

 

[flyme2themoon]

Jil Sander F/W 13.14
Makeup: Pat McGrath
Hair: Guido Palau
​

Beauty Gone Graphic, Backstage At Jil Sander
February 23, 2013

“Jil Sander is a modern-thinking designer,” Guido Palau pointed out backstage at Sander’s Fall show—just her second womenswear collection since returning to her namesake brand last year. As a result, it’s almost unheard of to find an inspiration board, littered with referential images of icons of yesteryear, backstage at one of the arch-minimalist’s presentations, which often leaves Palau with the more open-ended task of interpreting Sander’s “pure, simple aesthetic” into a corresponding hair look.

This season, he went with a graphic ponytail, adding color-matched extensions to models’ manes to create a uniform length that swept the mid-back. Layering generous amounts of Redken Hardwear 16 Super Strong Gel in panels from the hairline to the nape of the neck, Palau gathered lengths with an elastic that he wrapped with a flattened section of hair. “You don’t want it to dry,” he explained of the technique that ensured strands were saturated to create a sleek, wet texture.

Pat McGrath used the opportunity to play with contours and shadow, keeping skin fresh and beautiful while creating an innovative eye shape in the process. “It’s literally in the socket and pulled out,” the makeup maestro explained of the warm gray cream pigment she brushed across the crease in a crescent shape that came to a soft point and then rejoined the outer corner of the eye. “Every girl is tailored,” McGrath elaborated, explaining that lids were primed if necessary to ensure that the neutral stroke of shadow showed up, although she erred on the side of caution to prevent an overly light, sixties effect. Taking down lips with a touch of concealer, McGrath curled lashes and left them bare while adding strength to the brows to effectively frame the face.

Source: style.com