Runway Makeup F/W 10.11

Julien Macdonald

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"No Makeup Makeup" at Macdonald
by Brid Costello
Posted Sunday February 21, 2010

“We want the girls to look clean, like there’s no makeup,” said makeup artist Charlotte Tilbury. “It’s simply healthy glowing skin with a pinched cheek. It’s a no makeup makeup look.”

Tilbury used Myface foundation to create a perfect complexion and MAC Blushcreme in Cherche to add a slightly rosy hue to cheeks.

She worked creamy brown shades under eyes and on lids and brushed eyebrows with MAC Brow Set. The look was finished with a slick of Vaseline on lips.

Martin Cullen created a seemingly effortless look for hair, too. Hair was dried before being twisted into a bun.

The bun was dried again with a diffuser before being unbound just before the show.
Source: WWD.com
 
Vivienne Westwood Red Label

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"Cotton Candy" Coifs at Westwood Red Label
by Brid Costello
Posted Sunday February 21, 2010
Last Edited Monday February 22, 2010
From WWD.COM

“It’s all about texture,” said hairstylist Peter Gray, who was working backstage at Vivienne Westwood Red Label with L’Oréal Professionnel, adding he aimed to create coifs recalling cashmere. “It’s a little bit abstract. It looks like it has the texture of cotton candy."

To achieve the look, Gray worked L’Oréal Professionnel Tecni.art Volume Architect into roots and sprayed L’Oréal Professionnel Play Ball Texture Tonic on to lengths before roughly drying hair. He then backcombed hair gently and used tongs to create texture before brushing to pump up the volume.

Gray pulled the ends of the hair into a very loose ponytail, which was tucked underneath and pinned.

MAC Cosmetics’ Gordon Espinet, meanwhile, used an interplay of light and shadows as inspiration for makeup.

“It’s as though [the models’ faces] are shaded [by shadows cast by the fall of light] and not by makeup,” said Espinet, who cited Irving Penn portraits and comic book characters Lois Lane and Brenda Starr among his references.

Imitating the effect of light hitting the front of models’ faces, Espinet blended MAC Strobe Cream and light shades of Face And Body Foundation to create a pale complexion. He then shaded areas of the face that would be in shadow using Taupe, Quarry and Copperplate Eye Shadow.

He also shaded the upper lip and the cleft beneath the lower lip with Lip Pencil in Stone, while using Lip Erase to tone down the bottom lip.
Source: WWD.com
 
Christopher Kane

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Cowlicks Heighten Beauty Look at Christopher Kane
by Brid Costello
Posted Monday February 22, 2010
From WWD.COM

Cowlicks took center stage at Christopher Kane.

“It’s super simple,” said hairstylist Paul Hanlon, who was working with Tigi, counting the young Priscilla Presley among inspirations for the look. “[We’re creating] an exaggerated cowlick. It’s not ridiculously high, but it gives a feeling of natural movement at the front of the hairline.”

Hanlon sprayed a section of hair at the front of the head with Tigi Catwalk Your Highness Root Boost Spray before blowdrying and tonging it to create lift. He worked Tigi Bed Head Hard To Get Texturising Paste into the lengths before twisting the hair into a chignon-cum-pleat.

Lucia Pieroni, who was working with MAC Cosmetics, took an understated approach. She used Mineralize Foundation, Select Moisturecover Concealer and powder on the face, while Mineralize Blush in Dainty was worked into cheeks.

Eyebrows were given definition with Impeccable Brow Pencil, Brow Set in Clear and Clear Lipglass. Clear Lipglass was also used on lips.
Source: WWD.com
 
Thank you for posting all these photos and how-to's. They're really helpful!
 
Prada

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Brows And Beehives, Backstage At Prada
February 26, 2010

The brow is back for fall—at least according to makeup artist Pat McGrath, who carefully etched full forehead fringe with short strokes of CoverGirl’s LineExact Liquid Liner in black and brown backstage at Prada yesterday. The somewhat fifties-style arch shapes came in sharp contrast to McGrath’s usual style at the show, where she has been a champion of the bleached brow for the past few seasons. This time around, however, it was all about keeping things strong and feminine, a concept that worked nicely with hairstylist Guido Palau’s coifs, which he described as “classic French hairdressing done with a very chic, uptown nod to the sixties.” Prepping models’ tresses with Redken Thickening Lotion, Palau wrapped two separate sections of hair over a mesh cushion, which he used to create height and volume in the back for what ultimately resembled a beehive-style updo. “It’s really a modern take on the chignon,” he offered, before shellacking the top portion of the head with heavy layers of Redken Forceful 23 Super Strength Finishing Spray and adding braided-rope headbands to accessorize the look. It struck us as more retro than modern, but we’re not complaining.
Source: style.com // style.com/beauty/beautycounter
 
Dsquared²

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Sexy Dominatrices Backstage at Dsquared2
by Kerry Olsen
Posted Friday February 26, 2010
From WWD.COM

An immaculate uptown dominatrix was the Helmut Newton-inspired face at Dsquared2 that screamed fantasy and desire.

“Graphic, dark eyes and lips,” MAC Cosmetics’ Gordon Espinet said, describing the strong look, which emphasized elongated eyes and a heavily rouged mouth, he created backstage for the show. “We worked more with powder than foundation, to create the face’s matte canvas,” said Espinet, who used MAC’s Feline Kohl eye pencil to emphasize the eyes, which were layered with gray eye shadow and finished with a midnight blue sparkle. Taupe blush was used to contour cheekbones, and the pout was created by blending orange and red lip shades.

“Sexy, sharp power dressing” were the buzzwords Sam McKnight, global ambassador for Pantene Pro-V, used to describe models’ slicked-back manes. Pantene mousse was applied to the scalp, followed by a wet-look gel that gave a glossy finish worthy of the social elite.
Source: style.com and wwd.com
 
Fendi

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Backstage At Fendi, A Soft And Girlie Déjà Vu
February 26, 2010

There was a bit of a rock ‘n’ roll vibe backstage at Fendi yesterday, where the hair and makeup team of Sam McKnight and Peter Philips combined to create a pretty, feminine take on a masculine idea. McKnight loosely worked off the concept of a greaser-era pompadour, although his coifs were far looser than those worn by 1950’s bad boys—not to mention messier. While McKnight gathered models’ hair into high ponytails, rolling them over themselves and pinning them to hold, he made sure to use a light hand, letting rogue wisps and flyaways help shape the end result. It was quite similar to his ingenue-inspired topknots from Spring, come to think of it—and the nostalgic reference wasn’t lost on makeup artist Philips. His signature peachy cheek, which we have become so accustomed to seeing on this runway, was in full effect for Fall as he once again turned to Chanel’s Joues Contraste Blush in Fresque, applying it to the apples of models’ cheeks and adding a mauve-y gloss to their lips for some sheer shine. To better serve the softness of the overall look, Philips used a few strokes of a beige eye shadow for slight contouring but chose to skip the mascara and eyeliner altogether—a decision that is gaining popularity at the Fall shows in general. Could last season’s lash-loving be coming to a premature end? Stay tuned.
Source: style.com // style.com/beauty/beautycounter
 
Giorgio Armani

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Streamlined Beauty at Giorgio Armani
by Kerry Olsen
Posted Saturday February 27, 2010
Last Edited Sunday February 28, 2010

From WWD.COM

“It’s the Nineties - Armanified,” said Linda Cantello, international makeup artist for Giorgio Armani cosmetics. “The look is a return to minimalism, but with a shot of glamour,” she said, referring to the model’s dewy skin that acted as a backdrop a dramatic, bi-colored brow.

Burgundy and grey arcs were crayoned below eyebrows - the dark grey blended to a soft trace by Armani himself backstage.

Taupe Rouge D'Armani lipsticks were used to contour lips, cheekbones and eyes. The second brows came courtesy of lip pencils.

Cream Nera was applied on skin before being liberally covered in Fluid Master Base.

“It’s a geometric profile,” said hairstylist Oribe of the slick, graphic updos that were tightly fixed into place with Oribe’s Anti-Humidity spray. Gel Serum ensured hair was held fast to the scalp.

Source: wwd.com and style.com
 
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Marni

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Modigliani Inspires Look at Marni
by Kerry Olsen
Posted Sunday February 28, 2010
From WWD.COM

Makeup artist Tom Pecheux conceived Marni's fall face, referencing Modigliani’s elongated necks and sloe eyes. Monochromatic eyes were created using MAC khaki green eye shadow in Flourishing – an emerging color trend from Milan shows - emphasized by a strong brow.

Also reminiscent of the women depicted by the Italian painter, matte lips were smudged in the corners to convey a quirky elegance. Cheeks were peachy.

Emphasizing long, elegant necks were the messy, modern updos. “I wanted the hair to feel as if a woman had jumped in her car after a salon visit, and the elements had disheveled it,” said hairstylist Paul Hanlon, noting the style complemented the collection’s elbow-length, driving-inspired gloves.

“I had Fifties-style mannequins in mind,” said Hanlon of the initial process of tonging hair, brushing and backcombing it on to rollers.

“Marni hair is usually simple, but this season designer Consuelo Castiglioni wanted to take it a step further,” he said, adding gel and pulling out sections with his fingers to create the off-beat bouffants.
Source: wwd.com
 
Balenciaga

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At Balenciaga this morning, a show where, for the past few seasons, [Pat] McGrath has given us a bleached-out brow line, she left some girls with their natural forehead fringe while giving others chalky, candy-colored dye jobs in acid green, icy blue, and hot pink. The look was futuristic and retro all at once—a tribute to the space age and the swinging sixties, when titanium became a popular makeup additive, giving lipsticks and eye shadows a frosty finish. With brows like that, she didn’t need much else. Lashes were left without mascara, lips were nude, and skin was bare save for a very slight pink flush on the cheeks. Catwalk-to-sidewalk potential? Maybe not. But it did get us thinking outside the box about the potential of our own eyebrows. And isn’t that what the runway is really all about?
Source: style.com
 
DKNY & Jil Sander are certainly my favs so far :heart: Very minimal and subtle.
 
Dries Van Noten

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Backstage At Dries, The Best Kind Of Minimalism
March 4, 2010

With the Paris shows officially under way, our one burning beauty question has been answered: Yes, nineties minimalism has in fact made the trip from Milan, where it was a carryover effect from both London and New York. Despite a few dips into sixties hair territory at Rochas and Giles yesterday, barefaced looks reigned at Nicolas Andreas Taralis and Limi Feu—not to mention Dries Van Noten, where makeup artist Peter Philips has perfected the no-frills face over the past few seasons. But leave it to Philips to stake his claim on the familiar territory for Fall by adding a dash of extraordinary to what has become a general trend toward the ordinary. Like Linda Cantello at Armani, Philips chose to make his statement with the brow, adding an extra element to an otherwise plain approach by penciling in a sharp, short black line and blending it seamlessly into the natural curvature of models’ arches. You could barely see the precision of his handiwork on the runway, where the additional step served to bring a subtle strength to the face, without detracting from the clothes. And that’s what’s great about Philips’ work: Even his simplest ideas have impact.
Source: style.com
 
Missoni

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Punky Pouts and Edgy Hair at Missoni
by Kerry Olsen
Posted Sunday February 28, 2010
From WWD.COM

Nomadic club girls summed up the hair and makeup mood at Missioni.

“As the collection has an ethnic meets ‘Highlander’ feel, we don’t want the hair to reflect this or to appear tribal,” said hair stylist Paul Hanlon of the model’s edgy hairdos.

Tresses were teased into messy low-slung buns before Tigi’s Catwalk Root Boost was slicked on to the sides of hair to create a wet look.

Lips had a blackcurrant stain created by combining MAC lip color in Cyber and Hang-Up. MAC’s black eyebrow pencil in Velvetone lined the purple lipstick.

“It’s a very precise mouth,” said Lucia Pieroni, who was working with MAC Cosmetics. “I added a soft gray shade on the eye, leaving a natural brow to keep the emphasis on the mouth.”
Source: wwd.com and style.com
 

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