Runway Makeup F/W 11.12

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Luca Luca

Snow White Sans Seven Dwarfs, Backstage at Luca Luca

If we had to choose one Disney princess whose beauty look we’d like to emulate, it’d probably be Rapunzel. But since we’re idling in a very long, post-bob grow-out phase, that’s not in the cards at the moment. Slightly more accessible and easily duplicable, turns out, is Snow White. “Raul [Melgoza] was inspired by a girl who is on a journey in the forest,” Revlon global artistic director Gucci Westman said backstage at Luca Luca yesterday. “When I heard forest, I immediately thought of Snow White.” To get the “pale, translucent innocence” reminiscent of the fairy-tale heroine, Westman focused her attention on pure, clean skin with Revlon’s Photoready Makeup and a touch of highlight, courtesy of its Age Defying Spa Face Illuminator, before turning her attention to a contoured eye and a strong, crimson lip. Layering lids with Revlon’s Matte Collection eye shadow in Rich Sable and its Luxurious Color Eyeliner in Sueded Brown, Westman made sure to pay equal attention to brows, which she filled in using Revlon’s Brow Fantasy in Brunette for an “arched and expensive-looking” finish. As for that lip, it actually came about due to the precise mixing of the two different reds from Westman’s trusty Multi-Use Palette—the true scarlet from last season’s Suede Rhapsody collection and a berry-tinged Bordeaux from the product’s second incarnation due out this fall. “She’s on an adventure,” Westman said of the Luca Luca girl, poison apples hopefully not included.

Source: style.com/beauty/beautycounter
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Jason Wu

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Call it the gold rush. The beauty look at Jason Wu’s show was all about gilding — the hair, the eyes, the nails — echoing the Versailles inspiration Wu used for his collection.

Odile Gilbert, working for Aveda at the show, applied Aveda Smooth Infusion Glossing Straightener to damp hair from roots to end, then created a center part and blew the hair out straight, finishing with a flatiron for perfect smoothness. She gathered the hair into a ponytail with an elastic band at the nape of the neck, spraying with Aveda Control Force Firm Hold Hair Spray to keep flyaways in place. She then coated the hair from roots to ends with Aveda Brilliant Retexturing Gel and divided the ponytail in half, creating a twist, securing it with a second elastic. She pulled the ends of the hair up to the back of the head to loop the twist at the neck and secured it with bobby pins at the bottom for a fan effect. Next, she used MAC gold pigment and 24-karat gold leaf in the shape of a feather on the back of the head to echo the gold accents in the collection, completing the look with a layer of Aveda Brilliant Spray-On Shine for a high-gloss finish.

After skin pro Sunday Riley freshened up models’ skin with her eponymous skin care line, Diane Kendal, working for MAC Cosmetics at the show, focused on creating a “very rich, opulent eye.” She started with a generous application of MAC blue grease pencil, layering first blue eye shadow and then black eye shadow on top of both. In the center of the eyelid, she applied a generous pop of gold pigment for emphasis. Black eyeliner all around the eye and black mascara on the top lids only added additional emphasis, as did the bleached brows Kendal chose to further dramatize the look. Kendal added a hit of highlighter at the top of the cheekbone and right above the eye to catch the light, finishing the face with MAC’s Shell cream base on the lips.

The gold theme continued on the nails, done by CND’s Jan Arnold. She first painted the nails with Dark Ruby, a deep red, adding a coat of Bloodline, a richer red, for a burgundy nail. When the reds dried, she added Gold Chrome on fingertips. “Jason wanted a very elegant nail, so we filed the nails in an almond shape,” said Arnold.

Source: wwd.com and vogue.it

 

[flyme2themoon]

BCBG

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At BCBG Max Azria Thursday morning, Charlotte Willer, Maybelline New York’s global makeup artist, did a “Seventies-meets-Twenties” look, which centered on the eyes.

The allover natural look featured a white-gold hue applied from the inner corners of the eyes — the brand’s Eye Studio Color Plush Silk Eyeshadow was swept up to the brow and onto the outer corners for full coverage of the top lids.

The inner corners of the eyes also featured a shine for pop. A darker brown was applied to the crease. Eyebrows stood out thanks to Maybelline’s Define-a-Brow pencil.

In what was described as a “flawless” look, Fit Me Foundation and pressed powder was applied to the face. Finishing the look were nude, glossy lips, a result of Color Sensational Pearls Lipcolor in So Pearly, which was mixed with a lip balm.

Meanwhile, Bumble and bumble editorial stylist Neil Moodie went for a pretty, polished, tomboy effect on the hair, which was pulled back into smooth, low ponytails flowing out of straight side parts.

He achieved the look by prepping the hair with the brand’s Prep conditioning spray, a blow-dry aid and Styling Lotion. Bumble and bumble’s Spray de Mode hairspray kept the style in place.

Source: vogue.com and wwd.com

 

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Kimberly Taylor

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Source: wwd.com

 

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Organic by John Patrick

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Source: vogue.com

 

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Rag & Bone

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by Catherine Piercy

THE CREDITS: Makeup, Gucci Westman for Revlon; hair, Guido Palau for Redken; nails, Jin Soon for Revlon

THE LOOK: Urban nomad

MAKEUP: “The boys were inspired by the idea of an Eskimo girl,” Westman said. She gave models hazy, cool-toned purple eyes and windblown cheeks to go with designers David Neville’s and Marcus Wainwright’s winter-white collection of shearling coats and shrunken knit sweaters. “Cool and simple—nothing fussy.”

HAIR: “It’s soft, easy, a bit girly, the way a girl might do it herself,” said Palau of the haphazard braids he wove at random throughout models’ long straight hair.

THE TOOLS:
MAKEUP:
Westman smoothed a creamy aubergine lip color from Revlon’s Bordeaux in the Snow palette (out in Fall 2011) around the entire lid before blending over it with a rich matte brown powder (Revlon Matte Eyeshadow in Rich Sable). She finished by dotting the same purplish cream color onto the lips and cheeks. “It’s that slightly ruddy skin from the cold,” she said of the almost frostbitten effect.

HAIR:
“We washed the hair when the girls arrived to make it really soft and natural,” said Palau, who used Redken’s Extreme Shampoo. To fatten up very fine hair, he added Redken 06 Thickening Lotion before blowing it dry and braiding it down the back.

NAILS:
Revlon Nail Enamel in Steel Her Heart. “Very graphic,” said manicurist Jin Soon of the high-gloss slate-gray shade she painted onto models’ hands.

Source: vogue.com

 

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Jill Stuart

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Prior to Jill Stuart's show on Saturday morning, makeup artist Charlotte Tilbury and hairstylist Bob Recine teamed up for the beauty look.

Tilbury, using Stuart's own line of color cosmetics, did what she called an overall "lush bronze," look.

On the eyes, Tilbury used a Stuart eyeshadow palette, from which she blended a pewter silver and antique bronze all around the eye, and all over the lids. The corners of the eyes got a smudge of pale gold for contrast.

"It's a thick, strong eye," said [Tilbury].

She even gave a touch of bronze to the tip of the nose and the bow of the lip. And some contour was added under highlighted cheekbones. Rounding out the look was a pretty, peachy-coral stained lip, which matched many of the colors in the palette of the fashion collection.

Recine prepped the roots of the hair for volume with L'Oreal's Mousse Volupté from the brand's L'Oreal Professionnel Texture Expert line then finished the do's with the same line's Infinium 3 hairspray.

The result? Long, flowing down-dos out of center parts with lots of movement, fluttering elegantly as girls walked the runway.

"We're doing clean, beautiful straight hair — shiny, blunt — but full," he said. "We're not doing too much to the girls.

"The inspiration comes from beauty," Recine remarked. "The most powerful beauty of all is confidence [because] perfecting beauty sacrifices character."

Source: wwd.com

 

[flyme2themoon]

Cynthia Rowley

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MAKEUP: Charlotte Willer for Maybelline
HAIR: Rita Marmor for Redken
SNAPSHOT: Graphic and Gorgeous

THE SCOOP: With a collection composed of fluid shapes, long lengths, rich fabrications such as chevron and silk charmeuse, and a palette largely of mauve, emerald, navy and teal, Cynthia Rowley's Fall 2011 beauty looks luckily weren't put on the back burner. Eyes popped with definition, and hair was large-and-in-charge with oversize clips procured by Rowley herself for the show.

The hairstyle was devised for the "sophisticated woman; but she is not uptight," explained stylist Rita Marmor for Redken. She balanced the done-but-undone look by pairing the pulled-back look with some delicate texture, and collaborated throughout the process with Cynthia Rowley. The graphic elements of the clothing are mimicked through the Lucite hair accessories, and the styling was tailored to frame each model's individual face, which determined volume and size of the shaping in the back.

Over in makeup, Charlotte Willer for Maybelline worked on the done-but-undone theme by executing a "very elegant girl with the eyebrows a little undone," in a palette predominantly of browns and creams. Faces were kept relatively bare without any blush, with an eye shadow silhouette that works "on any eye shape," declared Willer.

GET THE LOOK - MAKEUP: All makeup from Maybelline. Start with the Fit Me! Foundation in your corresponding shade, followed by the Line Express Kohl Pencil in bronze, filling in all over the eyelid with a finger or brush. Next, layer the two shades of brown (top left, and bottom right) from the Expertwear Eyeshadow Quad in Chai Latte, followed immediately by the brown shade (second from left) found in the Give Me Gold Eyestudio Color Plush Palette, just in the center of the eye on the top lid, as well as underneath. From the same palette, use the first color, a shade of white, and apply some of it in the corner. Be sure to blend well the edges of this eye look, with the goal of pulling out the inner corner. In a back-and-forth motion, add Volum' Express the Falsies Mascara to lashes, and since everyone's lashes are different, Willer recommends that people gage for themselves how much one should do, but shoot for heading in a spiky direction.

GET THE LOOK - HAIR: All hair products from Redken. Marmor says teasing hair is the key to volume and texture, so blow-dry first with Full Frame 07 Protective Volumizing Mousse, tease and brush out. Pull into a ponytail and secure with a small elastic, pin it under with either regular bobby pins or hairpins, and pull out some pieces. Use Shine Flash 02 Glistening Mist (comes out in April) on top, and Fashion Work 12 hairspray throughout the rest to secure. Attach large hair clips casually in the back, finding the perfect spot that works best for your head shape and hair type.

Source: wwd.com and stylelist.com

 

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Alexander Wang

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Alexander Wang stayed true to his downtown/edgy/cooler-than-cool girl. Hair, styled by Guido Palau for Redken, was coiffed so that "it doesn't place too much importance" on her overall beauty look "even though it is very important to how she presents herself." That said, Palau created bed head hair with Redken Structure Wax, which made hair look piecey, as well as Sutra's heat styling iron to make locks wavy. He created a center part and then pulled hair back softly at the nape so pieces would fall out naturally. Makeup, by Diane Kendal for MAC, was a bit boyish, with strong, square brows and lip balm on lips. Eyes looked as if they had seen a good night at the club as eyeliner was applied around the eyes, and then removed, for a washed-out look. Nails, by Butter London, had a soft black tint, achieved by combining three of the brand's hues, and then topping it off with a matte finish.

Source: style.com and wwd.com

 

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Threeasfour

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Lip Liner: It’s Baaaaack At Threeasfour

As anyone who saw Vena Cava’s presentation on Thursday knows, the nineties are still having a moment. And as it turns out, one of the decade’s most popular beauty tools is making a repeat appearance, as well. We’re talking about lip liner, that handy colored pencil that can hold pigment in place or simply provide an outline, sans filler, to make pouts appear more plump. Last night at Threeasfour, makeup artist Andrea Helgadottir was outlining with an interesting color choice: red. “This is the first time they’re using the color in the collection,” she said, explaining her scarlet palette. Swiping MAC Cream Colour Base in Nude over eyes to take down all tonality, the makeup artist applied a few slashings of mascara before directing her attention to models’ mouths. “They’ve never done a lip before,” she said of the designer trio. That gave her carte blanche to set the bar pretty high. After blocking out lips with MAC’s Select Cover-Up, Helgadottir used a thin brush dipped in MAC Pro Acrylic in Red to trace the natural lip line, which she topped off with a duplicate stencil of its Lipmix in Crimson for hold and vibrancy. It was a bold look, to say the least, but one that seemed oddly suited to hairstylist Thomas Dunkin’s structural updos, which he hand-sculpted into a side-sweeping loop with layer upon layer of Sebastian Professional’s Liquid Steel gel and its Shaper Fierce hair spray. Wearable? No. Perfectly in line with Adi, Ange, and Gabi’s special brand of experimental fashion? You betcha.

Source: style.com/beauty/beautycounter

 

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Philosophy di Alberta Ferretti

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A Sixties-inspired look was seen at Philosophy di Alberta Ferretti. Makeup by Lucia Pieroni for MAC resembled a fresh-faced Goldie Hawn with long, long lashes, natural skin and an icy frosted lip with nude and pink tones. Hair, by Paul Hanlon for TIGI, was pulled back in low pony tails at the nape of the neck, with tails having a bit of texture and a gentle poof above the elastic gripping the hair.

Rebecca Taylor

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Inspired by Seventies-era muse Jerry Hall, the beauty look at Rebecca Taylor was colorful and sexy. Dai Michi****a for Redken was the key hair stylist but Rodney Cutler stood in to chat about the look, which he said was achieved by creating waves beginning about a third of the way down the hair shaft; roots were left supersmooth and straight. Waves, created by Hot Tools’ Professional Hair Crimper, were then brushed out for a fluffy feel. Just a bit of Cutler Volumizing Spray and Redken Fashion Works Spray helped create the style. Makeup, by Sil Bruinsma for MAC, completed the sexy look with a burgundy lip, defined brow, contoured cheekbone with a rosy blush, and a color-wash eye topped off with two coats of mascara. New MAC items used for the look were Looks Like Sin gloss and Keep Your Cool shadow. Nails, by OPI, were kept on the earthy side with hands donning Suzy Loves Cowboys, a dark brown, and toes colored with San Tan-tonio, a glossy flesh tone.

Source: wwd.com

 

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Prabal Gurung

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by Ana Dragovic

THE CREDITS: Makeup, Tom Pecheux for M.A.C; hair, Didier Malige for Frederick Fekkai; manicure, Jin Soon for Sally Hansen

THE LOOK: Miss Havisham with a dark, witchy twist

MAKEUP: Pecheux alluded to Charles Dickens’s Great Expectations in his description of a “sweet girl on the verge of being a witch.” “Not dark enough!” he said when model Ming Xi approached him for approval, directing an artist on his team to add more of the “dirty black” eye shadow to her lids. “It’s very romantic,” he added, satisfied when Ming came back with the finished look.

THE HAIR: “It’s a contrast of two textures,” explained Malige, complying with the good girl/bad girl motif. The front was “controlled” in tight, almost Victorian, middle-parted finger-waves (clips kept hair in place until seconds before the girls walked down the runway), while the rear, streaked through with colored extensions, was back-combed into a tangled froth and misted with a generous amount of hairspray to yield a “salty” (yet not quite beachy) texture.

Models Constance Jablonski and Patricia van der Vliet sat next to each other while Didier worked on both of their long blonde manes, wrapping thin chunks of hair around a 1¼-inch curling iron barrel and fluffing out loose waves. Van der Vliet kept touching her hair and smiling, complimenting Didier’s work: “It’s just really different—I like it!”

THE NAILS: For two days leading up to the show, Jin Soon hand-painted 34 sets of nails (two extra tips for each girl just in case) featuring a shade from Prabal’s five-polish collection for Sally Hansen. “Prabal wanted something warmer than white for the base, something more sophisticated,” she said, holding out a bottle of polish called Crinoline. Using a regular nail polish brush, she carefully painted onto the base coat what resembled an elaborate inkblot in a shade of brilliant black—Sally Hansen’s Midnight in New York.

THE TOOLS:
ON SKIN: “It’s all about the technique,” said Pecheux, referring to his method of dipping a brush in a lid filled with loose powder so that it’s covered and can smooth onto the skin evenly. Then, he used a puff dipped in the same powder in a “buffing” motion over the cheeks to create a delicate porcelain look, “with no blush.”

ON EYES: “Mean eyes,” Pecheux said with a slight laugh. He filled the inner corners of lids with MAC Pro Longwear Eye Shadow in Legendary Black to create “soft triangles,” then swept the brush outward to resemble “a veil.”

ON LIPS: Nude pink lipstick—MAC One of a Kind—which Pecheux also tapped on the black eyelids for a finishing effect to “catch the light.”

ON HAIR: For the colored wisps peaking out at the back, Malige and his team dyed blonde hair extensions pink, green, blue, lavender, and orange with Manic Panic color rinse. Fekkai Coiff Oceanique Tousled Wave Spray bulked up the look, and Malige, standing by the entrance to the stage, gave each model an extra blast of Fekkai’s Sheer Hold Hair Spray to secure the look before she hit the runway.

Source: vogue.com

 

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DKNY

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Jane Birkin and Marianne Faithfull stood in as beauty muses at the DKNY show. “It’s sort of back end of the hippie culture meets rhythm and blues, with a little Carnaby Street thrown in,” said lead hairstylist Eugene Souleiman, working for Wella at the show. Souleiman blew the hair out with a round brush and Wella Perfect Setting. Next, he created a partial middle part and wound a handful of Coke-can-sized Velcro rollers around the sections of the hair. Next, he blasted the hair with a hot blow-dryer, adding Wella Ocean Spritz for additional texture and blasting quickly with the hair dryer again. “It has structure, but it’s not graphic,” he said. “There’s a little of that ‘Did she do her hair or not?’ to it. It’s very wearable.”

Charlotte Willer, working for Maybelline at the show, made a graphic eye her focal point. After prepping skin with Maybelline Fit Me foundation and powder “for a flawless look,” Willer used Maybelline Liner Express in black kohl, lining the inside of the bottom lid and extending the line past the eye, around the side of the eye and up into the eye socket above. “Donna wanted something young and simple that looked like the models could have done it themselves,” explained Willer.

Nails, by Knock Out Cosmetics, were done in Navy, a dark blue shade, and Biscuit, a cement hue.

Source: wwd.com

 

[flyme2themoon]

Derek Lam

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by Catherine Piercy

THE CREDITS:
Makeup, Tom Pecheux for Estée Lauder; hair, Orlando Pita for T3; nails, Jin Soon for Estée Lauder

THE LOOK: Youthful uptown minimalism

MAKEUP: Taking a cue from the George Balanchine quote printed on Lam’s run-of-show program (“There are no new steps, only new combinations”), makeup artist Tom Pecheux reworked the classic elements of uptown beauty—glowing skin, metallic smoky eyes, nude lips—with a light hand that left Lauder faces Constance Jablonski, Liu Wen, and Joan Smalls looking as fresh as they did sophisticated backstage.

HAIR: “Derek was thinking about uniforms,” said Pita, whose loose, glossy hair looked prep-school ready. “It’s the way a girl would clip her hair off her face with a barrette . . . except that there is no barrette,” said Pita of a slim two-inch section slicked straight back neatly at the crown. “It worked with the architectural, graphic shapes of the clothing.”

THE TOOLS:
MAKEUP:
SKIN: “Derek’s clothes are so minimal, so luxurious, so comfortable. For me, it’s like a new Hermès,” said Pecheux, who smoothed on Estée Lauder’s similarly seamless cashmere-light Double Wear Light Stay-in-Place Makeup SPF 10 to erase imperfections, then added a faint glow high on the cheekbones using the company’s new Idealist Even Skintone Illuminator.

EYES: Pecheux tested Lauder’s new (and yet unnamed) eye shadows for fall, swirling together metallic silver and black cream pigments to achieve the perfect shade of “silver-blue gray” before tracing the color onto the lids in an extended cat shape. “It’s powerful, but it’s also feminine,” said Pecheux, who blended the edges for a seamlessly diffused finish.

LIPS: Estée Lauder Vanilla Truffle Nude Matte Lipstick (also launching this fall).

HAIR: To create a healthy sheen, Pita blew models’ hair straight with T3’s Evolution dryer, then went over it with the company’s Fahrenheit 450 flat iron. After sectioning off a wide strip at the forehead, he brushed it straight back away from the face, using T3 Control hairspray and the heat of the blow-dryer to set it into place. To watch the hairstylist recreate the look at Derek Lam firsthand, visit www.youtube.com/t3micro.

NAILS: After painting on three shades of Estée Lauder Pure Color Nail Lacquer in Porcelain (Fall 2011), Jin Soon decided the “winter white” nail color looked too chalky. “We took it all off and used one or two coats on hands and feet for a softer, semi-opaque finish,” she said. “It’s cleaner, simpler, more minimal.”

Source: vogue.com and vogue.it

 

[flyme2themoon]

Thakoon

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by Ana Dragovic

THE CREDITS:
Makeup, Diane Kendal for NARS; hair, Odile Gilbert for Kérastase

THE LOOK: High-society nomad

MAKEUP: Breaking the rules never looked so good: Kendal used a red lip liner and three varying pinkish-red blush tones on the eyes, and a concealer on the lips. Bleached brows served as a faded background to the shocking-red stripe across the lids that swept outward toward the temples. “It’s fun!” she said, nodding to the models, who appeared pleasantly surprised upon seeing their reflections in the mirror.

THE HAIR: “This is amazing,” said designer Thakoon Panichgul as he surveyed the look Gilbert created using a deconstructed hat made of colored yarn intricately woven into the hair. After the duo posed arm-in-arm for a photo, Gilbert turned back around to attend to model Kate Fogarty, whose long hair she was entwining with pieces of a black-and-white hat Panichgul and his team picked up in Nairobi. Each model flaunted a unique pattern that complemented her garment—vibrant threads of yellow, orange, cobalt, red, and green.


THE TOOLS:

ON EYES: Three shades of NARS blush—Taj Mahal, Desire, and Exhibit A—mixed to yield a pink-red that resembled an African sunset, emboldened with Dragon Girl Velvet Matte Lip Pencil.

ON LIPS: Kendal patted on NARS concealer, in one of the brand’s nine fall shades, depending on each model’s skin tone.

ON HAIR: Gilbert smoothed hair back with Kérastase Double Force Hairspray and added shine at the end with the brand’s Volumactive Spray. Two stylists were assigned to each model in order to manage essentially knitting the fabric through the hair to construct an über-modern chignon.

Source: vogue.com

 

[KatherineCouture]

Jill Stuart makeup is great

 

[flyme2themoon]

Rodarte
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Backstage at the Rodarte show on Tuesday, the influence of nature was front and center.

Makeup artist James Kaliardos, working with MAC Cosmetics, was inspired by “light from dawn and dusk.”
“It’s that midwestern sunset of grays and soft caramels,” he explained. “We’re using lots of color but it’s still soft.”

He created a sunset effect on the eyes with washes of gray lavender, yellow and, on the lid, caramel. He curled the lashes and then brushed foundation through them. He also thickened and diffused eyebrows and worked a bit of soft pink cream blush high on the cheekbone and dotted foundation where needed. Lips were a burnt caramel color.

Hairstylist Odile Gilbert, working for Aveda, channeled “the spirit of the country girl. It’s very organic.” She created the hair’s windswept texture with mousse and hair spray and “no brush at all.” She gathered the hair to the side, using her hands, and loosely secured it in place.

On nails, Deborah Lippmann used a golden caramel shade called No More Drama with a glittering red shade, Ruby Red Slippers.

Source: wwd.com
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[flyme2themoon]

Badgley Mischka

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“Forget writing a thesis on the center part — this is about glamour!” said Peter Gray, working for Moroccanoil at the Badgley Mischka show. “This isn’t the Vanity Fair party — it’s the Vanity Fair after party.” Gray cited Catherine Deneuve in “The Hunger” as his muse for the multifaceted updo he created at the show — a mix of an asymmetric roll on the left and a rope twist on the right side of the head, tucked into an undone chignon at the back of the head and topped with a strand of rhinestones glued along the part. “I don’t intend for people to try the whole kitchen sink at home, but I do mean for them to try parts of it,” said Gray. “Hopefully, this will inspire someone to try a chignon, or a twist, or putting rhinestones in their hair.”

Gray started by making a low side part on the left side of the head, reaching from the temple to the nape of the neck. He smoothed hair back, then rope-twisted hair on the right side of the head from the temple to the nape and secured it with an elastic. On the opposite side of the head, he blew the hair out straight with Moroccanoil Hydrating Styling Cream and a paddle brush to give hair a smooth, shiny texture and soft hold. Next, Gray sprayed Moroccanoil Luminous Hairspray on each section, and used a curling iron with a one-inch barrel to create a roller set, but rolled hair upward instead of down to take the volume out of the hair. After brushing the hair out, Gray backcombed the hair and formed an asymmetric French twist from the temple to the nape, fastening it into a ponytail at the neck. Gray then rolled the two ponytails into an asymmetric chignon and spritzed the style with Moroccanoil Glimmer Shine Spray for shine and texture. The pièce de résistance: long strips of rhinestones covering the part in the hair, which Gray anchored in place with eyelash glue.

Tom Pecheux, working with MAC Cosmetics at the show, masterminded a silver metallic eye using MAC Sea Side Cream Colour Base as a base, with Moody Eye Shadow and Pro Longwear Eye Shadow in Weathered in the crease of the eye. Smolder eye kohl was applied on the inner rim of the lower lashes, with black Haute and Naughty mascara applied to both top and bottom lashes. Skin was perfected with MAC Studio Sculpt Foundation, as well as Prep and Prime finishing powder. Lips were finished with One of a Kind, a raspberry hue.

Deborah Lippmann finished the look with Believe, a midtone metallic shade, on the nails’ half moon, with Ruby Red Slippers, a glittery red, on the remainder of the nail.

Source: wwd.com

 

[flyme2themoon]

Victoria Beckham

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by Ana Dragovic

THE CREDITS: Makeup, Charlotte Tilbury for Lancôme; hair, Guido Palau for Redken; nails, Nonie Creme for Butter London

THE LOOK: Future perfect

MAKEUP: “It was all about shadows,” said Tilbury, who masterfully mixed bronzers to cover the face, contouring the cheeks with a gold highlighter and secret weapon Éclat Miracle Illuminator. She brushed highlighter down the bridge of the nose to make it appear more narrow, swept toward the temples to lift cheekbones, and dabbed on the lips to make them more voluptuous, creating the “3D effect” she wanted. “I didn’t want to fight the color and graphics in the collection, just enhance them,” she said. Backstage, Tilbury was delighted by show-goers’ instantaneous reactions to the makeup via Twitter and felt obliged to respond—“I really need to start tweeting,” she admitted.

THE HAIR: Palau can really do magic with hair—even make it disappear, as he did for this show. “Victoria wanted a small head,” he explained, referring to the black stocking and headband he used to cover the models’ hair, which he tightly coiled underneath. “It was the idea of twenties-era silent films, but also a bit future. The goal was to expose the face.”

THE NAILS: “Neutrals are a staple,” said Creme, who custom-mixed lacquers on set for each of the twelve models based on their individual skin tone. Starting with a range of five tones, she went outward from there, adding a “drop of navy here” or “a touch of gray there,” and sent each girl home with her own one-of-a-kind polish. And Victoria? She opted for Union Jack Black the night before the presentation.

THE TOOLS:
ON SKIN: Tilbury debuted Lancôme’s new Star Bronzer, out this fall.

ON EYES: Color Design Five Pan Palette in Taupe Craze mixed with Eye Shadow Base in Aquatique and Éclat Miracle Illuminating Serum.

ON LIPS: Lancôme’s colorless La Base Lip Base Moisturizer kept lips soft and hydrated. Model Ruby Aldridge snuck backstage to reapply some herself.

ON HAIR: Redken Hardwear 16 Super Strong Gel held hair in place underneath the stocking caps.

Source: vogue.com and wwd.com
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[flyme2themoon]

Proenza Schouler

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THE CREDITS:
Makeup, Diane Kendal for M.A.C.; hair, Paul Hanlon for Frédéric Fekkai; nails, Kim D’Amato for Priti NYC

THE LOOK:

MAKEUP: “The boys took a road trip out West, which influenced the textures and fabrics in the fall collection. We wanted to see that same environment reflected in the face,” said Diane Kendal of the dusty, desert-inspired neutrals—in shades of sand, clay, and putty—that she used to subtly define the features. Working in high contrast to the rich yellow, orange, and cobalt shoulder bags and sandals spotted on the runway, the monochromatic palette provided balance.

THE HAIR: “When Jack and Lazaro called me up in London to talk about the show, they said they were thinking about all the girls having very long hair,” said Paul Hanlon, who arrived in New York with trunks of waist-length hair extensions for the occasion. He looked to photographer Edward Curtis’s historical images of Native American tribeswomen—along with ’70s icons Sissy Spacek and Cher—when dreaming up models’ disheveled, center-parted, half-plaited ponytails. “It’s an evolution of their girl from last season,” he said, referencing the destroyed updos he created for Proenza’s spring 2011 runway. If their muse’s hair teetered on the verge of collapse back then, says Hanlon, “this time it’s fallen down completely.”


THE TOOLS:

ON EYES: Proenza’s girl plays by her own rules. This fall, she may be lining her eyes with M.A.C.’s lip pencil in Stone (a cool putty-colored brown). “It looked cool,” said Kendal with a good natured shrug of her unorthodox choice. She skipped mascara altogether, but spent time brushing the brows upward for “a slightly bushier feeling.”

CHEEKS: Kendal subtly contoured the cheekbones and temples with M.A.C. Sculpt Cream in Peaches and Taupe, respectively.

LIPS: A dab of M.A.C. concealer took down the natural pinkish cast of the lips.

FOR HAIR: Hanlon’s undone ponytails were smooth and polished at the crown, tangled and voluminous at the ends. His technique: After attaching 22-inch extensions—that’s nearly two feet of hair—toward the root, he used Frédéric Fekkai Océanique Tousled Wave Spray on the lower length of the hair for texture before gathering the sides back loosely in a hybrid plaited knot. “It should look like their ponytail got caught in their jacket and it’s made it a bit messy,” said Hanlon, who finished with the company’s Sheer Hold Hairspray.

ON NAILS: “Models! You must get a pedicure before you take the runway!” a backstage production assistant called out shortly before first looks. A coat of clear matte polish (Priti Matte Maker) on the toes ensured that all eyes stayed on the designer’s knockout accessories.

Source: vogue.com