Runway Makeup F/W 11.12

[flyme2themoon]

Ralph Lauren

​

Better Off Red Backstage At Ralph Lauren

The Fall shows have put the brakes on the statement lip’s rise to runway fame. In New York, mouths have more often than not been painted with a mix of clear balm and concealer to put the spotlight on an uptick in graphic, smoky eyes. The only pout colors to speak of have been a recurring shade of rosy brown (Rodarte, Carolina Herrera) and classic red, which had its strongest showing at Diane von Furstenberg. Until, that is, Ralph Lauren decided to overhaul his usual backstage beauty game and give the crimson pigment a go yesterday.

“I’ve been working with Ralph for over ten years and I think this is the first time,” said makeup artist Tom Pecheux of the pout color’s rare appearance at Lauren’s show. “One of the things that really turned me on were these amazing shoes that had red lacquered heels,” Pecheux said of the impetus to incorporate a bold, similarly hued lip. “I told [Ralph] we don’t have that many choices. If we keep them fresh and gorgeous the way we do usually, they’re going to look a bit nude, and naked—and he agreed.”

With Lauren on board, Pecheux dusted on a “veil” of shimmering gray pigment from an Eyeshadow Duo in his forthcoming Modern Mercury collection for Estée Lauder, adding mascara to the outer corners of the top lashes only to give an almond shape to the eye. “We did everything much as we always do,” Pecheux noted of the light-handed technique with which he and his team were instituting the darker-than-usual palette, so even his blush application appeared see-through. “The thing that’s important is to apply it on the apple but slightly lower down, so you get rid of the sporty look,” the face painter said of the pinkish peach flush he was placing below cheekbones. “It becomes more womanly,” he said of the placement. “When you’re a teenager, you have a little bit of baby fat, so you bring the blush higher on the bone structure. But when you get older, there is a gravity—whatever was too high is now dropping. This keeps it from being too girly,” he continued of the brushed-on layers of MAC Cosmetics blush in Fleur Power, a bright pink, and Estée Lauder Silky Powder Blush in Radiant Peach, a warm apricot.

It was this precise mixing of colors that allowed Pecheux to paint on a vibrant lip without the whole thing coming off too clownish. “When you bring in more peach, the colors fit together,” he said of his rosy cheeks and the dominant scarlet pout he slicked across models’ mouths using Estée Lauder’s new Pure Color Lipstick in Wildfire.
—Celia Ellenberg

Source: style.com/beauty/beautycounter and vogue.com

 

[flyme2themoon]

Reed Krakoff

Makeup by Diane Kendal

​

Source: vogue.com

 

[Georgi]

Thx!! Love the Donna Karan "open eyeliner" look! Its fresh!

 

[flyme2themoon]

Burberry Prorsum

​

by Esther Adams

THE CREDITS:
Makeup, Wendy Rowe for Burberry; hair, Neil Moodie for Bumble and Bumble; manicure, Anatole Rainey

THE LOOK:
MAKEUP: “It’s a contemporary take on the sixties,” said Rowe. “We’re keeping makeup simple and accentuating the eyebrows—that’s a very sixties thing to do.”

THE HAIR: “When the clothing is strong and structured, the hair needs to be understated,” said Moodie. “I was initially inspired by Peggy Moffitt’s short, laid-back haircut, but reinterpreted that look in a much looser way.” Translation: Hair was center-parted, tucked behind the ears, and gently grasped at the base of the neck with hair bands so discreet they were barely visible. “It should only take two minutes to do so she can spend the rest of her time getting dressed!”

THE NAILS: “Clean, clean clean,” said Rainey of the bare-nailed theme that has become the Burberry trademark. “It’s matte without any kind of buff or shine.”

THE TOOLS:
MAKEUP:

ON SKIN: “We want these girls to feel like themselves—modern and fresh,” said Rowe. She used Burberry’s Warm Glow Natural Bronzer to lay the foundation for a soft, even look, and then swirled Blush No.07 in feather-soft circles underneath models’ cheekbones. “The blusher gives just a hint of shadow; it creates such a nice sculpted feel.”

ON EYES: “The trench coat made me think of stormy weather,” mused Rowe of the blustery-hued eyes, which she created by blending Antique Rose, Pearl Grey and Taupe eye shadows, and finishing with a single coat of brown mascara. “There’s a little Taupe shadow on the eyebrow too,” she continued, “but not much, or it would turn into a forties look.”

ON LIPS: “Burberry’s lip glosses enhance your natural lip color,” says Rowe of the copper shade she chose for the show.

ON HAIR: “ We’ve spritzed Bumble and Bumble’s prep spray on the center partings and then layered with Styling Lotion from roots to ends,” said Moodie of the slightly fluffy, textured look. “The great thing is, those products also speed up the hair’s natural drying process.”

ON NAILS: “Models are constantly getting manicures,” explained Rainey. “So if she’s got a nice clean nail, we’re just moisturizing cuticles with Phenomen Oil by Jessica.” And for those girls with problem nails? “We’re lightly painting a simple base coat by Nail Tek called Foundation II to make sure they look perfect.”

Source: vogue.com and wwd.com

 

[flyme2themoon]

Vivienne Westwood Red Label

LONDON - "Noble naivety" is how makeup artist Alex Box described the look at Vivienne Westwood’s Red Label show.

Drawing on the designer’s irreverent mix of British heritage and eccentricity, Box created a beautiful 18th-century face, which she then jazzed up using a concoction of Mac’s cream bases, reflective powders and pigments in the most kaleidoscopic of colors – pinks, teals, violets and golds.

"The effect looks painterly, almost like creating a soft watercolour portrait and then going with graffiti over it," she said.

Box used Mac's Vanilla pigment on the forehead and nose for a dewy effect, Hi Def Cyan Fluidline on eyes, Dollymix blush on the cheeks, as well as Beet lip pencil for a dramatic pout.

Adding to this playful look was Malcolm Edwards’ hair, which had a bouffant and wind-swept effect.

Using L’Oreal Professionnel’s Crystal Gloss Texture Tonic and lots of Air Fix Firm Hold spray, Edwards created ponytails which he then twisted and "freezed" into quirky shapes that could hold crowns.

Source: wwd.com

 

[flyme2themoon]

Nicole Farhi / Paul Smith / Pringle of Scotland

Nicole Farhi

​

Paul Smith

​

Pringle of Scotland

​

Source: wwd.com

 

[Teja]

3.1 Phillip Lim

NARSFACEBOOK

FACE
*Concealer (NEW for Fall 2011; for now, try the existing Concealer)

EYES
*Larger Than Life Long-Wear Eyeliners in shades Rue de Rivoli and Abbey Road (NEW for Fall 2011; for now try Fuji Single Eyeshadow, and Kaliste Eyeliner Pencil)
*Cap Ferrat Trio Eyeshadow (NEW for Summer 2011; for now try Cleo Duo Eyeshadow)
*Delphes Trio Eyeshadow (NEW for Fall 2011; for now try the shimmering sage side of April Fools Duo Eyeshadow)

LIPS
*Pago Pago Lipstick (NEW for Fall 2011; for now try Crusing Lipstick)
​

 

[Teja]

House of Waris

NARSFACEBOOK
FACE
*Concealer (NEW for Fall 2011; for now, try the existing Concealer)
*Soleil Pressed Powder

EYES
*Soleil Pressed Powder
*Larger Than Life Long-Wear Eyeliners in shades Via Veneto and Rue Saint-Honore (NEW for Fall 2011; for now try Black Moon Eyeliner Pencil, and the slate-blue side of Underworld Duo Eyeshadow, respectively)
*Larger Than Life Volumizing Mascara

LIPS
*Montego Bay Pure Matte Lipstick (NEW for Fall 2011; for now, try a dab of Maui Multiple)

All products, except where noted, are available at narscosmetics.com
​

 

[Teja]

Marc Jacobs

NARSFACEBOOK
FACE
*Concealer (NEW for Fall 2011; for now, try the existing Concealer)
*Lokoum Cream Blush

EYES
*Grand Palais Duo Eyeshadow (for now, try using Lokoum Cream Blush)
*Larger Than Life Long-Wear Eyeliner in Via Veneto (NEW for Fall 2011; for now try Black Moon Eyeliner Pencil)
*Larger Than Life Volumizing Mascara

LIPS
*Greta Pure Sheer SPF Lip Treatment

All products, except where noted, are available at narscosmetics.com.
​

 

[flyme2themoon]

Meadham Kirchhoff

by Esther Adams

THE CREDITS:
Makeup, Florrie White for M.A.C.; hair, James Pecis for L’Oréal; manicure, Florrie White

THE LOOK: Theatrical plastic dolls

MAKEUP: “This season’s girl is strong and passionate,” said White, who created pale-looking dolls with a kooky operatic twist. “We used lots of textures on very pale, matte skin.”

THE HAIR: “It’s an evolution of the girl from last season,” said Pecis. “She’s let her hair color grow out for the last six months.” That meant three inches of dark regrowth, which ran down into long, winding blonde locks.

THE NAILS: “Bright and colorful, but matte,” said White.

THE TOOLS:
MAKEUP:

ON SKIN: “We started with M.A.C.’s Mixing Medium, which is like a primer that evens out skin tone,” said White of the process behind creating her porcelain canvas. “Then we mixed in NC15 Studio Sculpt with Face and Body Foundation in White, because we don’t want them to be too pale.”

ON EYES: White was influenced by Edwardian opera star Lily Elsie and her theatrical makeup, which was applied in pointillist style, “so the audience could see her face from far away.” White blended M.A.C. Cremeblend Blush in Tea Petal from lash-line to socket and under lower lashes to give “a raw, sad look—as if they’d been crying all day.” She dotted M.A.C.’s Paintstick in French Violet above the socket line, and used loose Pigment in Clear Blue Sky along the outer corners and Dusty Coral underneath the eye’s central point.

ON EYEBROWS: “This is my favorite feature,” enthused White, who also employed pointillism here, drawing three vertical strokes of shadow on the inner corners and three small dots at the end. “We groomed them with a slanted brush so there were no hard lines and shaded them with eye shadows in Coquette, Omega, or Brun to make them a little darker. It’s a nice trick on the eye.”

ON LIPS: “It’s a bright red lip that looks as though it’s been licked and kissed off,” says White, who used a new pencil appropriately called Entertain Me to achieve the theatrical effect. She then slicked Lady Danger lipstick across the cupid’s bows and used Red Electric powder pigment for a buffing effect.

ON HAIR: “The designers love Marcel waves,” said Pecis, who interpreted them for the show in conjunction with a low, side-parted ponytail. “We used double-stick tape to attach some pieces to the side of the face,” he added. The final look got a fine misting of Infinium hair spray.

ON NAILS: “It’s a matte fluorescent red we found in London’s Dalston Market,” White said of the unbranded polish. “And we’ve gone over it with Essie’s Matte About You, which gives any color the perfect matte finish.”

Source: vogue.com
​

​

 

[flyme2themoon]

Roksanda Ilincic

​

LONDON – A fierce Helmut Newton-esque Glamazon was makeup artist Lucia Pica’s vision for the Roksanda Ilincic woman, dressed in luxury fabrics and rich autumnal shades.

Think [of] someone between Jerry Hall and Charlotte Rampling. The look is dark, sophisticated and groomed, but it is not too pretty, more like masculine-feminine,” she explained.

Key here was a dramatic, elongated eye defined with MAC Cosmetics’ Blacktrack gel eyeliner and painted with Cork, an ochre brown eye shadow. Cheeks were contoured with a dark Foundation Stick and highlighted with Shell, an icy beige cream-colored base.

Lips got a rich chocolate-brown, custom-made hue, a mix of several glosses, Film Noir lipstick and Cork lip liner. For models’ copper-bronze-colored nails, manicurist Sophy Robson concocted a blend of Leighton Denny polishes.

Topping off the Seventies theme was long hair with a loose wave and center parting. The coifs by Shon were super shiny, courtesy of Redken’s Guts 10 Volume spray and Quick Dry 18 Finishing Shine mist.

Source: vogue.com and wwd.com

 

[flyme2themoon]

Giles

The power of red.

LONDON — "A slightly odd Victorian Governess’’ is how makeup artist Lucia Pieroni described the look at Giles. "She is stoic, strict, incredibly precise and disciplined. Her face is shiny and taut, with a splash of red."

Using Mac, Pieroni created a clean face with a light base, dabbed Lipglass across the eyes, cheeks and temples and applied a red lip liner and Ruby Woo lipstick for a full matte red lip.

Sacha Mascolo-Tarbuck and Ashley Javier created an equally precise, disciplined and polished look with Toni & Guy’s Label.m products. Using dry shampoo, gel and Smoothing Cream, they pulled hair all the way back in a solid ponytail, which they then turned into a sculptural chignon, kept in mint condition inside an invisible net. "It doesn’t feel ladylike or girly, but rather fluid," Javier said.

Source: wwd.com
​

 

[flyme2themoon]

Alberta Ferretti

​

​

“Carnaby Street innocence.” That’s how hairstylist Guido Palau termed Alberta Ferretti’s Sixties-inspired slicked-back chignons that nodded in the direction of the decade’s poster girl, Twiggy.

The style’s low, side-swept bangs and sharp side part were molded into place using Redken’s Velvet Gelatin blow-dry lotion before being spritzed with Redken’s Forceful 23 Super Strength Finishing Spray for a glossy sheen. Neat knots at the nape of the neck completed the look that — despite the artful technique involved — appeared discreetly simple.

Following the theme, makeup artist Lucia Pieroni for MAC Cosmetics conceived a contemporary spin on the decade’s makeup characterized by strong eyes and nude lips.

Skin was left bare aside from MAC’s Moisturizing Cover concealer and Prep and Prime finishing powder. Sculpt Powder was applied to the cheekbones to give them an iridescent sheen. Lips were finished with Snob, a pinky beige hue.

Pieroni masterminded a structured eye using a creamy taupe eye color base, Paint Pot in Groundwork under the eye and a Chromagraphic pencil in a beige tone.

Fake lashes were applied with Zoom Lash mascara on top and bottom lashes. An eye pencil in Coffee was used to line the outer rims and round out the look.

Source: wwd.com

 

[flyme2themoon]

Aquascutum / Marios Schwab / Mary Katrantzou

Aquascutum

​

Marios Schwab

​

Mary Katrantzou

​

Source: vogue.com

 

[flyme2themoon]

Gucci

​

MILAN – For fall, the Gucci girl has porcelain skin and glossy lips reminiscent of an Edwardian lady, juxtaposed with a textured ponytail straight from a Seventies dance floor.

Pat McGrath applied Max Factor’s Experience foundation to add luminosity to the skin, paired with strong lashes courtesy of Max Factor’s Volumizing mascara before working mouths into glassy claret pouts with Elixir lipgloss by Max Factor. “It’s sensual and luxurious,” said McGrath. A bright red hue was used in the center of the lips to give definition and an exaggerated quality.

Hairstylist Luigi Mureno slicked back manes into low-slung ponytails that were accessorized with feathers. “It’s masculine, but sexy,” he said.

Hair was pulled into the nape before its length was crimped, backcombed and then straightened using a flat iron to achieve volume. Many heads were topped with fedoras in bright hues.

Source: vogue.com and wwd.com

 

[Esperanza]

Sorry I know this isn't the right thread to ask, but who is the model with the blue eyes and red nails touching her face?

Gorgeous makeup looks btw! Can't wait to try some at home

 

[missbluejean]

The power of red.

Source: wwd.com
​

It's like Giles redeemed themselves from the outrageous makeup last season. Thanks for the updates.

 

[flyme2themoon]

^ Yes. Definitely.
(And you're welcome!)

More Giles backstage photos...

Source: style.com


It's the F/W 11.12 shows like this one, Diane von Furstenberg, Ralph Lauren, and Luca Luca that make me want to wear red lip shades all the time.

​

 

[flyme2themoon]

Prada

​

by Catherine Piercy

THE CREDITS:

Makeup, Pat McGrath for CoverGirl

Hair, Guido Palau for Redken

THE LOOK: Sophisticated schoolgirl

MAKEUP: “Mrs. Prada wanted the girls to look young and cool and a bit raw—as if they’d just been trying on clothes in front of the mirror,” said McGrath, who gave models flushed pink cheeks and dusty rose lids that meshed beautifully with the designer’s blush-colored aviator caps, Mary Jane hybrid knee boots, and sixties-inspired frocks.

HAIR: Palau’s neatly brushed ponytails made loose reference to a young Catherine Deneuve (think Belle du Jour) from the front—but the long silver barrettes he used to fasten them at the nape of the neck looked like something a schoolgirl might have stashed in her desk. “It’s innocent,” he said. “But there’s something quite dark about [pairing] childish details with those sophisticated clothes.”

THE TOOLS:

MAKEUP:

SKIN: After “pale-ing out” the complexion with a lighter-than–skin tone foundation, McGrath got down to work. “More blush!” she repeated like a mantra to her team, blending layer upon layer of warm pink cream "down and out" toward the hairline to mimic a natural flush. (Also working in her favor: the steamy backstage area, which had models, photographers, and makeup artists frantically fanning themselves.)

EYES: McGrath mixed the perfect rosy brown eye color by hand, and then blended it from the lids to the brow bones. She skipped mascara altogether and rimmed the eyes with a soft beige pencil for a wide-eyed look instead.

LIPS: In keeping with her monochromatic palette, “We’re dabbing that same rosy blush onto the lips,” she said.

HAIR: “It looks like the girls could have done it themselves,” said Palau, who finger-combed a two-inch section of hair at the crown straight back and sprayed it into place using Redken Forceful hair spray. After gathering the bottom with a long, flat barrette, he pulled out a few pieces at the sides of the face—cutting them when necessary to create the appearance of girlish flyaways.

NAILS: A clear top coat (Seche Vite Dry Fast) gave hands a hint of shine.

Source: vogue.com and vogue.it

 

[flyme2themoon]

Fendi

​

THE CREDITS:

Makeup, Peter Philips for Chanel; hair, Sam McKnight

THE LOOK: Madcap Hitchcock heiress

MAKEUP: “There’s a slightly English screwball feeling to the face,” said Philips of his diffused metallic eyes in rusty bronze and silvery lavender, which he blended all the way to the brow bone. Worn with softly shaded cheeks and nude lips, “it’s moody, or a bit nostalgic, but it’s also the kind of thing the girls could wear right out into the street.” Moments after the show finished, models Abbey Lee and Anna Selezneva did just that—setting off a firestorm of flashbulbs from the dozens of street-style bloggers waiting outside the cobblestone courtyard of the Fendi headquarters on Via Sciesa.

HAIR: McKnight may have been channeling a Hitchcockian woman (Mrs. Danvers from Rebecca) with his messy, deconstructed twists—but from the front row, models recalled a Fendi-fied Daphne Guinness. “It’s a gothic and a bit sick, really,” said McKnight of the bold mustard, teal, tomato, or deep burgundy streaks he worked into the hair before slipping Fendi’s colorful mismatched headbands over the crown.


THE TOOLS:

MAKEUP:

EYES: “Karl [Lagerfeld] wanted a focus on the eyes. Something metallic and shiny, a play on warm and cool,” said Philips. He blended two creamy, glimmering pigments (Chanel’s forthcoming Illusion d’Ombre eye shadows) from the lashes to the brow bone for a hazy, washed out feeling. To open up the eyes, he used a bit of beige kohl pencil (Chanel Eye Kohl in Clair) on the inner lids.

SKIN: Philips blended Chanel’s Pro Lumière foundation over the skin as needed, and then sculpted the cheekbones with the company’s Rose Ecrin blush (available in the U.S. this July). . He finished by dabbing a dot of the same foundation on the lips.

HAIR: “We wanted the hair up to work with the high collars in the collection,” said McKnight, who used Sebastian Mousse Forte from roots to ends before choosing from a rainbow-like assortment of extensions and attaching one wide, solitary strip at the crown. “It’s quite structured and severe, but with soft edges,” he said of the look, lightly spritzed with Pantene hair spray, which spilled haphazardly over the back and sides as if models had twisted it up tightly, pinned it painstaking into place—and then slept in for days.

NAILS: After removing any polish from the hands and feet, models’ nails were buffed for shine.

Source: vogue.com and vogue.it