PARIS — The makeup look for Dior’s couture show took a cue from a tradition that the late Christian Dior instigated years ago.
“He called it a ‘Coup de Trafalgar,’” explained Peter Philips, creative and image director for makeup at the house, describing how the designer, halfway through his fashion shows, used to send a model down the catwalk sporting a red dress — to awaken people and spice things up.
So Philips opted for the makeup equivalent, giving the models appearing midway through the couture show a vivid red mouth.
“I really build up a classical red lip,” he said.
To do so, Philips used Dior lip pencil Rouge Royal (number 952) and then applied a matte Diorific lipstick, called Fabuleuse (number 750).
He filled in models’ lips, took off excess color, mattified with some powder, added a second lipstick layer then softly faded out the edges. In the middle of models’ lips, he applied Prune Troublante pencil and Troublante lipstick for a tinge of wine color.
Otherwise, models’ eyes were the focus at the show. Those without the red mouths got lashes of three different types of Dior mascara — Diorshow Maximiser, black mascara and Iconic Overcurl Waterproof in noir — plus Pro liner waterproof black and the pearly part of the Escapade eye shadow palette for spring.
“It’s a beautiful pearlescent Champagne on the eyelid,” described Philips.
Each model’s face was treated with Diorskin Star number 10, Star Concealer number 0001 and Nude Air loose powder for a luminous effect.
For coifs, Guido Palau created what he called a “feminine updo,” which took the form of imperfect low-slung buns. He gave models a “messy side-part.”
“It’s a little bit punky, like how one might really just quickly throw her hair into a little knot, and all her layers are just hanging out,” he said.
Palau used Redken products, including Wind Blown 05 Dry Finishing Spray and Triple Take 32 Extreme High Hold Hairspray.
He said his brief was for something easy — yet chic.
“I think most designers are inspired by ease,” he said. “They don’t want anything to look like it’s been overworked. That feels not so modern.”
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