Runway Make-Up Resort & S/S 2016

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Altuzarra | New York





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Alexander Wang | New York
Make-Up: Diane Kendal.
hair: Guido Palau.



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By Belisa Silva

With the hero makeup being moisturizer, beauty at Alexander Wang was simple, to sat the least. Diane Kendal, working for Nars, said she was inspired by “the street” as well as the girls “having their own style and individuality.”

Kendal used Nars Luminous Moisture Cream and a small dab of concealer where needed to hide imperfections. “Basically, we’re just cleaning up skin and grooming, making sure all the spots are covered, brows are brushed and filled in where necessary,” she said.

Guido Palau, working for Redken, cut at least a dozen girls’ hair, some in very extreme fashions, including blunt bobs, short bangs and even a shaved eyebrow. “The whole vibe Alexander wanted was a very real feeling, so it felt like a girl just happened to wear these clothes and just came in off the street. If you just saw her, you wouldn’t know if she just walked in like that or not.”

Using only one product, Redken’s Wind Blown for a bit of grittiness, Palau said this look was all about individuality. “Normally we do a very strong look, but at this show, which is still strong in its statement, it’s understated. We’re at a point in beauty where that ease of style is so important to be modern.”

Nails, done by Michelle Saunders for Essie, were equally simple. Saunders created a “matte mani and pedi,” using Essie Cocktails and Coconuts and Matte About You. The result is “a really beautiful fleshy color,” said Saunders, who cut nails down in an almost “boyish” shape. “It’s a rough-and-tough nail and has almost a chalky [texture]. Alexander loves that city urban feeling.”

 

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Tracy Reese | New York





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Hood by Air | New York





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Victoria Beckham | New York
Photographer: Pat McGrath.
Hair: Guido Palau.





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By Ellen Thomas

The look at Victoria Beckham was pared-down polish — a simple low bun with a fresh, luminous face and strong brows, and in certain cases, a playful orange-red matte lip.

“It’s chic, but almost sporty,” said lead makeup artist Pat McGrath. Skin was prepped with Sunday Riley Pro Luminous Gel Mist from Sunday Riley’s upcoming pro line, which debuted backstage at Beckham. McGrath dabbed highlighter around the eyes and cheekbones for a “creamy, dewy” glow, and enhanced natural brows with a chubby brow stick. A simple brown shadow brought depth to the eyes, and five girls wore the aforementioned bold lip, a blend of orange and red shades.

Guido Palau for Redken led hair. “It’s an easy, sophisticated, modern look — any girl could wear it,” said Palau. “Victoria is a modern designer.” Palau prepped wet hair with Redken Prepping Blow Dry Lotion and added Diamond Oil for “glamour and shine.” Once dry, hair was twisted into a low bun and secured with a pin.

Nails, led by Vanessa Williams for Nails Inc, were “clear with an edge.” Two coats of Nails Inc Westminster Bridge Matte Top Coat were applied for a clean effect.

 

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Jill Stuart | New York
Make-Up: Aaron de Mey.
Hair: James Pecis.



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By Ellen Thomas

Beauty at Jill Stuart remained true to the designer’s sophisticated downtown-girl aesthetic — albeit with one unexpected evolution in the hair department.

Lead makeup artist Aaron de Mey for MAC kept the face free of foundation so as to appear fresh and “innocent.” De May alternated between MAC Pro Longwear Paint Pot in Clearwater and a blend of Chromaline in Process Magenta and Clear White wrapped all over and around the eyelid. The intensely saturated pastel shadow looks were a “way to define the eye without using dark color,” which made for a “Seventies-inspired style that still looks tough.” Lashes were given two coats of mascara on top and one on bottom for a dramatic finish. De May kept lips natural, using only a lip conditioner.

James Pecis for Oribe led hair, which was a loose, low ponytail tied high at the nape of the neck. The pony was a deviation from Stuart’s usual routine. “It shocked us all,” said Pecis. In seasons past, the designer has opted for flowing waves, and Pecis noted that the style for this show, while different, was simply a continuation of Stuart’s signature look. “It’s still full and beautiful.” Pecis noted that prep work was the same as any other Jill Stuart show, starting with wet hair prepped by Oribe Maximista Thickening Spray. After a rough-blow dry, a small amount of Supershine Moisturizing Cream was twisted through ends, and hair was pulled into the ponytail, with a few loose pieces taken out to frame the face.

Nails, led by Cinnamon Bowser for Zoya, were a translucent French manicure meant to look sheer and shiny. Zoya Pink Perfector was used as the base, with White Tip Perfector at the tips.

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Diane von Furstenberg | New York





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Monique Lhuillier | New York
Make-Up: Val Garland.
Hair: Bob Recine.





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By Belisa Silva

It was all about a “bolt of color” on the eye and a wet ballerina bun backstage at Monique Lhuillier.

“We’ve chosen to do a clunky, chunky liner, either in cyan blue or emerald green [MAC Chromaline in Hi Def Cyan and Landscape],” said Val Garland, working on behalf of MAC Cosmetics. Eyebrows were brushed up, and left without mascara. To bring out “the highlights of the skin,” Garland used Peach Strobe Cream, applying it high on the cheekbone, above the eye and down the nose. The look was finished off with a bit of MAC Lip Conditioner on the lips. When asked why she picked these two bold shades for the “rectangular” eye, Garland said, “when I was talking to Monique, we looked at the collection and she said ‘I’m working with a lot of primary colors,’ and I thought how can we do that, but have an intelligence? Yes, I could have done primary colors but I thought we had to have an element of sophistication.” Garland added that the cool hues are universally flattering for any skin tone.

Bob Recine for Moroccanoil made a slicked-back “wet little bun.”

Beginning by wetting hair and raking in Moroccanoil Volumizing Mousse, as well as an ample dose of Moroccanoil Glimmer Spray, Recine said the look was intuitive. Using a wide-tooth comb, he then made a “high ponytail,” bending it into a knot shape, using a pin and hairband to secure it. “If you put thought into it, you strip the charm,” said Recine, adding that the look would be slightly different on every model. “We’re making a small-ish head and where the real story is, is in the texture and the shine. We aren’t making anything perfect, we don’t want anything perfect, we want it real.” The style was finished with Moroccanoil Luminous Hairspray.

Nails were given a “spring garden” look by Gina Edwards, for Morgan Taylor. “We created a beautiful twist to the French tip, which people think is outdated, but we elevated it and made it a little more chic,” said Edwards, who used blush-hued Simply Irresistible as a base and Later Alligator, a bold poppy shade, for a “chic” tip that “Monique loved.” Toes were given one coat of Simply Irresistible.

 

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Public School | New York





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Opening Ceremony | New York





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Carolina Herrera | New York
Make-Up: Diane Kendal.
Hair: Orlando Pita.





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By Julie Naughton

Carolina Herrera’s ladies were a bit more casual than normal, at least beautywise.

Rather than the elaborate updos he usually creates for this show, Orlando Pita, working with TRESemme at the show, left hair down to fall softly on the models’ shoulders. “We wanted the hair to have a very ethereal and angelic edge but with a modern feel,” said Pita. “It’s about creating a soft, ‘barely there’ look that has lots of gentle movement and celebrates shiny, healthy hair.” After applying Get Sleek Blow Dry Balm from roots to ends, he used a blow-dryer and a round bristle brush to dry hair before using a comb to create a straight center part. Next, he separated hair into 2-inch-wide sections and used a 1.5-inch barrel curling wand to create a very loose S-bend wave in the hair, rolling the curling wand down the hair. He used the edge of the curling wand to smooth the hair at the roots and finished with Smooth & Silky Shine Spray to tame flyaways and Perfectly (Un)Done Ultra Brushable Hairspray for flexible hold.

Diane Kendal, working with MAC Cosmetics at the show, was similarly restrained with the makeup, centering around the pale pink that dominated the rtw collection. “Carolina just wanted the girls to look really beautiful,” said Kendal. After moisturizing skin, Kendal applied a very light application of foundation and curled lashes, using mascara on the top lashes only. Next, she added Enchanted Forest, a sheer pewter, on the lid, up to the brow bone, and Joy Toy, a sheer copper in the center of the lid. She filled in eyebrows, making them square and slightly extended. Next, she added Blush Baby, a nude blush, on cheeks for a natural flush, then finished with a matte lip pencil and matte pink liquid lipstick. “It almost looks like a stain,” she said. To finish, she added a bit of highlighter to the tops of the cheekbones.

Michelle Saunders, working with Essie at the show, chose Spaghetti Strap, a soft nude-pink, for both fingers and toes, topping both with a clear gel top coat.

 

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Edun | New York
Make-Up: Charlotte Tilbury.
Hair: James Pecis.





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By Belisa Silva

At Edun, faces — made up by Charlotte Tilbury for MAC Cosmetics — gave off a vibe of innocence and health. “She [Ali Hewson] very much wanted the girls to look very pure because the hair is going to be a bit more tribal,” said Tilbury. “We decided to play with texture.”

The “Mia Farrow-esque” look included brushed “sporty” eyebrows, created with eyebrow pencil and Clear Brow Set.

Faces were given a unique detail.

“I painted freckles on all across the nose and across the cheek,” said Tilbury, who used MAC Cork Lip Pencil to “dust” freckles across the nose and cheeks. “There’s something very youthful and cheeky about freckles, and when you see them you feel there is nothing on the skin and that there is something youthful about that.”

Skin was prepped with Studio Moisture Cream and a dab of Studio Finish Concealer only where needed, under the eye and around the nose. “The skin has loads of lush moisturizer and feels superfresh,” said Tilbury, who used a tiny bit of powder down the T-zone for the girls with oilier skin and only lip scrub and MAC Lip Conditioner on lips.

Eyes and cheekbones were given a “vaseline-y kind of texture,” according to Tilbury, who imparted a “strobe effect” using Lip Conditioner in unexpected places. “It highlights it in a very sporty sheen kind of way, but it’s very purist,” she said.

James Pecis, for Oribe, was working with five different looks.

“I think the biggest trend with all the shows is that everyone wants the girls to be individuals, so that’s the idea,” said Pecis. “The different looks are all very casual, easy things, they all have an extreme ease to them, but we’re prepping them all in the exact same way.

The key product was Oribe’s Maximista, a thickening spray he blow dried into hair for texture. Among the looks he created were low ponytails, an updo made up of “two knots in back,” a half-up-half-down style, and some curly looks.

“They share the texture, that’s the biggest thing. It’s all about that cleaner, lighter texture” Pecis said, adding that models’ looks were decided based on their hair types, what they were wearing and where they stood in the lineup. “You have to just be open to change because it’s going to change [during the show].”

Nails, done by vegan nail brand Priti NYC, were given a coat of base coat, then painted in Pink Jewel Carnation and Speedy Top Coat. The brand was also utilizing its soy-based nail polish remover in a lemongrass scent.

 

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Prabal Gurung | New York





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Tommy Hilfiger | New York
Make-Up: Pat McGrath.
Hair: Eugene Souleiman.





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By Ellen Thomas

It was a chilly morning in New York, but the girls backstage at Pier 36 were on island time — hair wraps included.

“The look is very cool — it’s rock chicks in the sun,” said makeup lead Pat McGrath for Cover Girl, as reggae blasted over loudspeakers and the sisters Hadid milled about. “It’s groomed brows, highlighted skin, bronzed cheeks — relaxed cool.” McGrath used Cover Girl Outlast Stay Luminous Satin Finish Foundation for a dewy finish, and paired with TruBlend Minerals Loose Mineral Bronzer in Medium for color. Eyes were dusted in a taupe color from the TruNaked Shadow Palette, and eyes lined in an espresso-colored pencil for a subtle smoky effect. Several layers of LashBlast Volume Mascara were applied, and the look was finished off with Oh Sugar Lip Balm in Candy, a sheer wash of color. All CoverGirl products are part of a new collection launching January 2016.

Eugene Souleiman led hair, which was about as relaxed as a fashion show could be, “It’s all about soaking up the sun.” Souleiman worked with the hair’s natural texture, wetting and air-drying for a completely laid-back feel. “No products,” Souleiman insisted. Some girls were given hair wraps in bold shades like red and chartreuse. “It’s a beautiful statement, and an appropriate one — just listen to the music,” said Soulemain, pointing up to the loudspeakers.

 

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Jeremy Scott | New York





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Zac Posen | New York



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Reem Acra | New York
Make-Up: Mark Carrasquillo.
Hair: Didier Malige.





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By Julie Naughton

The beauty look at Reem Acra was all about understated glamour.

Mark Carrasquillo, working with Kevyn Aucoin Beauty at the show, focused his attention on the eyes. “My idea was that a girl took a black liner and ran it back and forth, lining the top and bottom of the eyes at the same time,” he said. “I traced the top and bottom lids with a black liquid eyeliner, a straight line — it’s not winged-out, there’s no Fifties, there’s no reference. It’s very much the shape of the girl’s own eye.” He skipped mascara and brow pencil — “I really wanted it to be sort of stripped-bare, young skin, kind of a young approach to eyeliner, because the clothes are so gorgeous and glamorous and expensive, I wanted to pull back a little.” He added a touch of clear gloss to eyelids to catch the light as models took to the runway.

Didier Malige, who keyed hair for the show, added a bit of volumizer and hairspray to hair before twisting hair into a tight bun at the top of the head, securing it with bobby pins. He then added a headband at the top of the forehead of each girl. “It’s a bit of a ballerina, and at the same time not,” he said.

On nails, Gina Edwards, working with nail brand Morgan Taylor at the show, fashioned a simple but elegant gold nail, combining Morgan Taylor’s Give Me Gold mixed with Make It Last topcoat for a sheer effect that subtly caught the light. She followed the natural shape of the nail and adorned both fingernails and toenails. “It’s almost iridescent, almost like gold lamé, and subtly glamorous,” she said.

 

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Rodarte | New York
Make-Up: James Kaliardos.
Hair: Odile Gilbert.





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By Ellen Thomas

A soft, natural beauty look accompanied the flowing and textured romantic vibe of Rodarte’s ready-to-wear collection.

James Kaliardos for Nars Cosmetics led makeup. “The collection was inspired by poets, so I was thinking of something natural, but deep,” Kaliardos said. “We ended up going with something luxurious, smooth and monochromatic.” Skin was prepped with NARS Luminous Moisture Cream and evened-out with Velvet Matte Skin Tint, new for 2016. Cheeks and eyes were highlighted with Craving Dual-Intensity Blush, a highlighter-bronzer combo that Kaliardos applied in one fell swoop. Belle De Jour Velvet Lip Pencil was applied for a wash of pink color on the lips.

Hair, led by Odile Gilbert for Kérastase, was free-flowing and easy. Starting with wet hair, Gilbert used Kérastase Powder Bluff for texture and body, and roughly blow-dried hair for natural-looking waves. Heavy gold and silver barrettes by Rodarte were carefully placed, with direction from each model, at different points on the head.

Miss Pop for OPI created the nail look, a reverse French tip look that complemented the hair accessories. A custom blend of OPI A Great Opera-tunity and Top Coat created a sheer light peach color as a base. DS Radiance was applied as a silver accent at the tip, and Glitzerland as a gold accent at the cuticle.