Runway Makeup F/W 11.12

[flyme2themoon]

Vivienne Westwood

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Source: vogue.it

 

[flyme2themoon]

Rick Owens

“80 Percent Glamour, 20 Percent Spooky,” Backstage At Rick Owens
March 4, 2011

“Please drink with straws!” came the desperate pleas from casting directors backstage at Rick Owens, where makeup artist Lucia Pieroni was painting on a painstakingly perfect red lip. “It’s 80 percent glamour, 20 percent spooky,” Pieroni said of the look—the outline of MAC Lip Pencil in Redd and the slashing of its Lipstick in Lady Danger being the glamorous part, and the bleached brows acting as the spooky bit. “I’ve been kind of getting into the bushy, Brooke Shields brows [this season] because we’re so used to seeing bleach,” she went on, adding her two cents to the season’s ongoing brow discourse. “But it’s not really about trends, it’s about what looks good,” she continued, referencing her blocked-out arches that, to be fair, worked well with the bevy of hoods Owens sent out onto the runway. We actually appreciated the technique here, because with Luigi Murenu’s structured, “modern couture,” slicked-back coifs and the abundance of nun habits-cum-haute headgear, peering into an eerily bare face with nothing except a vivid crimson lip just seemed to make sense. The downside of brow bleaching, however—that it can strip girls of their personality and instead render them a unified, extraterrestrial tribe—became abundantly clear when we crossed paths with Karlie Kloss. There’s usually no missing Kloss—her towering six-foot stature, stunning bone structure, and winning smile typically put her heads and shoulders above crowds of her cohorts. We actually had to do a double take to realize it was her, though, as without those signature dark, pointed brows, she’s just—dare we say—another model. Luckily, her inimitable walk made it easy to identify her once the show finally started.
Photo: Luca Cannonieri / GoRunway.com

Source: vogue.com and style.com/beauty/beautycounter
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[flyme2themoon]

Roland Mouret

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Source: vogue.com
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[flyme2themoon]

Lanvin

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PARIS — Makeup artist Pat McGrath gave the outside edges of models’ eyelids a black smudge. Their skin was left nude with a bit of powder and lips were dabbed with balm.

The look was “all about the black, but really inspired by Alber [Elbaz, Lanvin’s designer] saying, ‘I want the girls to look a little nasty, as if they had done the makeup themselves,’” said McGrath, who used products such as Cover Girl NatureLuxe Foundation and Mousse Mascara.

Hairstylist Guido Palau fashioned a low, soft braid at the back of models’ heads with shorter strands of hair falling on either side of their faces. He called the coif “very simple.”

"Nasty" has never looked so beautiful!

Source: vogue.it and wwd.com

 

[flyme2themoon]

Maison Martin Margiela

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Source: vogue.it

 

[kasper!]

Your contribution is amazing! We love you here, flyme2themoon!

 

[FleurDeLys]

The makeup at Lanvin is absolutely stunning. Thanks!

 

[flyme2themoon]

Yohji Yamamoto

^ You're welcome.
Kasper!:

Yohji Yamamoto
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PARIS – Just as Yohji Yamamoto’s fashion collection involved layered pieces, its beauty look had layered elements.

Eugene Souleiman felted models’ hair and wool, which were mixed and piled in seemingly gravity-defying mounds. The hairstylist used multicolored strands of the fabric.

“I’ve been storing this wool for about a year now, and I’ve been waiting for the right moment to bring it out,” he said.

For her part, makeup artist Pat McGrath layered the color black with sparkles on models’ peepers.

“We just wanted [the look] to be these ink black eyes with glitter,” she explained.

Source: vogue.it and wwd.com

 

[flyme2themoon]

Junya Watanabe

There's no doubt that Katsuya Kamo was behind the hair, and probably the makeup as well.
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Source: vogue.it

 

[RedAzalie]

what about nina ricci? I am very curious about lipstic in pale but fluo pink

 

[flyme2themoon]

^ See #58 and #59. It was custom blended by Pat McGrath. I wish I knew of an exact duplicate. (MAC or Make Up For Ever may have something similar).

 

[flyme2themoon]

Jean Paul Gaultier

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by Catherine Piercy
THE CREDITS:

Makeup, Stéphane Marais; hair, Guido Palau for Redken; hair Color, Josh Wood

THE LOOK:

MAKEUP: Marais’s immaculately groomed “bourgeois woman”—with her fair skin, darkened brows, and pale lips—conjured the sangfroid beauty of a Hitchcock heroine.

HAIR: “It’s a highly stylized, 1960s feeling,” said Palau, who fit dozens of exaggerated, beehive-shaped wigs onto his models backstage.


THE TOOLS:
MAKEUP:

EYES: “She’s a strong woman; she has a strong brow,” said Marais, who drew in hairs with the flick of a chocolate brown pencil to create a busy, retro-inspired set. He dusted a glimmering pearl-colored shadow onto the lid. “It doesn’t look like eye shadow, it just looks a bit wet,” he said, before blending a mink-brown eyeliner around the lash-lines and finishing with a tiny winged uptick at the outer corners. “There’s mascara… heavy, but not too perfect,” he said, demonstrating with a quick flick of the wrist. “It’s like she doesn’t think too much about it.”

SKIN: “Impeccable” is the word Marais used to describe the superfine layers of foundation he smoothed onto the skin to create a cool, luminous finish. He skipped blush and lipstick—“she’s chic, anonymous, not too made up”—and dabbed a bit of foundation on the lips, instead, to take down their natural pinkish color a notch.

HAIR: “Jean Paul liked the agelessness of Kristen McMenamy’s gray,” said Palau, who called upon London colorist Josh Wood to dye more than forty wigs in silver-, lavender-, and charcoal-tinted variations of the shade the night before. “He flew in and did it in about four hours if you can believe that,” said Palau. Once the hair pieces had been fitted onto the girls, his team finished each one by twisting it into a messy beehive-bouffant, pinning it into place, and misting it with Redken Forceful 23 hairspray.

Source: vogue.it and vogue.com

 

[flyme2themoon]

Comme des Garçons

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Source: vogue.it

 

[flyme2themoon]

Giambattista Valli

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Source: vogue.com

 

[flyme2themoon]

Stella McCartney

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by Catherine Piercy
THE CREDITS:

Makeup, Pat McGrath for CoverGirl; hair, Eugene Souleiman; nails, Kim D’Amato for Priti NYC

THE LOOK: Stella McCartney girl does evening

MAKEUP: “The Stella woman is always fresh and glowing,” said McGrath. This year, she took a slight detour from the designer’s signature runway look—clean skin, rosy cheeks—by drawing a thin line of black liquid liner along the upper lashes. “It’s a little more evening, to go with the darker pieces that open the show,” she said.

HAIR: To accompany her cool tuxedo jackets and sheer paneled dresses, Souleiman pulled models’ hair into a low, slightly imperfect bun. “The collection is a little bit sexy this year so we wanted to keep it easy and real, which is very Stella,” he said. In fact, the designer herself wore a version of Souleiman’s bun for her bow at the end of the show.

NAILS: D’Amato custom mixed a sheer golden beige polish for the show. “We’re calling it Alister Stella Gray Rose, which is the name of a real flower, if you can imagine,” said D’Amato, making reference to McCartney’s husband, Alasdhair Willis. D’Amato plans on permanently adding the shade to her eco-friendly polish collection, Priti NYC. “Perfect, isn’t it?”


THE TOOLS:

MAKEUP: The early morning light spilling through the windows of the Palais Garnier was so bright that members of McGrath’s team had to hold up a makeshift shade to keep models from squinting while sitting for makeup. “It’s very simple,” she said, as she blended multiple sheer layers of foundation over the skin (CoverGirl NatureLuxe) and smoothing a rosy blush (Olay Simply Ageless) onto the apples of the cheeks. She finished by filling in the brows and tracing a neat, inky line along the upper lids. “It lifts very, very slightly at the outer corners,” she said before dabbing a clear balm on the lips.

HAIR: “We’re not trying to reinvent the wheel here,” Souleiman said good-naturedly of the simple, classic look. He skipped product altogether, creating a neat side part and tugging his fingers through the hair before pulling it into a bun. “It gives the hair a slightly rougher texture at the crown, which looks a bit cooler.”

Source: vogue.com

 

[flyme2themoon]

Viktor & Rolf

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At Viktor & Rolf, They Can Be Heroes—Just For One Day
March 6, 2011

“She’s been through a lot,” hairstylist Luigi Murenu quipped of the Viktor & Rolf woman for Fall. “The rain, the dust. They’re heroines—modern Joans of Arc!” While most people would take that reference and conjure images of the French patron saint’s heavy fringe, Murenu went in a different direction completely, opting to channel his embattled protagonist as she was dismounting from her horse in all of her windswept sweaty glory. Coating strands in John Frieda Luxurious Volume Thickening Mousse for a wet, piece-y texture, Murenu fashioned deep side parts and braided sections on both sides of the hairline to the back of the head, before joining both plaits into a ponytail and braiding through the ends.


If you’re thinking that Pat McGrath’s completely red faces were meant to illustrate Murenu’s galloping warriors’ subsequent sunburnt skin, don’t. It was much simpler than that. “They’re stepping out of a red camera gel light,” McGrath explained of the jarring and yet somehow totally gorgeous makeup look. “I’m taking that to a place that’s really literal”—and how. What provided the gorgeous bit here was the fact that McGrath accentuated models’ natural assets instead of blocking them out—the wash of scarlet pigment that was brushed over the entire complexion was removed from brows, which were brushed up and sculpted; lids were carved out using a sheer dusting of smoky shadows; and a thin scrawl of black liquid liner was applied before a row of extra lashes, which were curled for extra impact and a nice dose of drama. Equally impressive was how McGrath got Constance and co. back to bare post-show by calling in the big guns. “We used five different theatrical makeup removers,” she told us when we ran into her later in the day.

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

 

[flyme2themoon]

Alexander McQueen

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by Catherine Piercy
THE CREDITS:
Makeup, Peter Philips for Chanel; hair, Guido Palau for Redken; nails, Marian Newman for Minx

THE LOOK:
MAKEUP: “It’s about the purity of the girl, dressed in her armor—even if her armor is an evening gown,” Philips said of the supernaturally clean skin, which looked almost surreal from the vaulted backstage area of the Conciergerie.

HAIR: “The McQueen woman is always strong,” said Palau, whose gleaming warrior helmets took a cue from Sarah Burton’s futuristic platform shoes, and the medieval chain-mail headpieces of a bygone era.

NAILS: Sheet upon sheet of abstract jagged silver and black custom Minx nail designs—pressed onto models’ fingertips backstage—arrived on the Eurostar this morning. With Burton’s “ice maidens” in mind, Newman crafted the print from a photograph of a snowstorm taken from inside a cave.

THE TOOLS:

MAKEUP:
SKIN: To create “alabaster skin with golden highlights,” Philips mixed the lightest shade of Chanel Pro Lumière foundation with a white illuminating cream before blending it over the skin. He followed by dabbing Chanel Ombre Essentielle eye shadow in Ivory—a soft cream-colored powder with warm, shimmering undertones—onto the center of the eyelids, the cupid’s bow of the mouth, and the bridge of the nose. “I want the skin to look pure . . . but not dead,” said Philips, who swirled a bit of pale, golden loose powder on the apples of the cheeks for good measure. He left the mouth bare, or, if necessary, toned down naturally rosy lips with a pin-size dot of foundation.

Source: vogue.it and vogue.com

 

[flyme2themoon]

Chanel

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by Catherine Piercy
THE CREDITS: Makeup, Peter Philips for Chanel; hair, Sam McKnight; nails, Anny Errandonea

THE LOOK:
MAKEUP: Philips looked to a mock-up of Lagerfeld’s forest noir set, with its otherworldly fog and its charred black rocks, when dreaming up the show’s molten graphite eye. “It’s a play between shadow and light,” he said of the darkly glimmering lid, which he paired with fresh, luminous skin and a velvet nude lip.

HAIR: McKnight pinned glittering Chanel crystal-and-stone barrettes into the base of his “boyish” side-swept knot, which had a slightly disheveled feel, thanks to its face-framing flyaway bits. Models wearing second-skin jeans and motorcycle boots down the runway—a nod, perhaps, to Chanel face and Lagerfeld muse Freja Beha Erichsen’s signature off-duty style—looked as if they’d come home from a late-night party, thrown on their street clothes, and headed right back out again.

THE TOOLS:

MAKEUP:
EYES: Taking his forthcoming fall color collection for Chanel for a road test, Philips played with a trio of his new Illusion d’Ombre cream shadows. “There are metallic threads and rich textures in the collection,” he explained, while blending a striking gunmetal shade (in Épatant) around the entire eye, and defining the outer corners with its smoky black counterpart (Mirifique). For a touch of high contrast, he dabbed a shimmering white version of the formula (Émerveille) at the center of the top and bottom lids. A quick dash of Chanel Khaki Platine eyeliner on the inside of the lash-lines and loads of black mascara provided extra power.

SKIN: Philips skipped blush in favor of pure, delicate skin and a matte nude lip (Chanel Rouge Allure Velvet in La Furtive).

NAILS: The cult of the Chanel manicure continues: Philips’ new Graphite nail lacquer, a shimmering green-gray enamel hand-mixed to match the gunmetal eyes, is sure to inspire wait lists when it debuts this fall.

HAIR: Models arrived to their early morning call with a slight case of bed-head, making McKnight’s lived-in buns look authentically rumpled. After creating a deep side part, he heightened the effect by blowing the hair dry with a bit of texturizing spray and fastening it low to one side of the neck—then tugging free a small section along one side of the face. To secure those heavy Chanel hairpieces from sliding out of place, he wrapped a hair net around the base until minutes before show time.

Source: vogue.it and vogue.com

 

[flyme2themoon]

Kenzo

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The Bold And The Beautiful, Backstage At Kenzo
March 7, 2011

More often than not this season, we have heard the words “She’s a strong woman” uttered backstage by hair and makeup pros to explain beauty looks from New York to Paris. To wit, Fall’s full, boyish brow has been everywhere, often complemented by contoured cheeks and sleek, barbershop coifs to complete the vision of a girl who embodies beauty because of her disregard for its conventions. And so it went at Kenzo, where makeup artist Tom Pecheux had two specific defiant muses in mind, Frida Kahlo and Georgia O’Keeffe. “Not so much their work, but the kind of women they are—powerful with a strong mind but at the same time sophisticated,” Pecheux explained, making a point to disregard the obvious references. (”We’re not doing unibrows,” he quipped.) He was, however, applying pigment and powders “not like makeup, but like an emotion.” Translation: blending everything with fingers instead of brushes, for a smudged, lived-in effect that included a wash of MAC Cream Colour Base in Khaki on lids and below the lower lash line and its Eye Pencil in Taupe, drawn in between individual lashes for definition without the use of mascara. Mouths were covered with MAC Lip Pencil in Bordeaux Line, a dark berry, which was jostled to blur any lines. “A perfect purple lip would translate with too much attitude,” Pecheux explained. “Here, it’s more about inner beauty.”

Wella global creative director Eugene Souleiman added Hailee Steinfeld to the inspirational mix. “They’re Amish/True Grit braids,” he said of the “ornate and arid” plaits he was creating from slicked-back sides, crossing one over the other and sewing (yes, sewing) them together below the napes of models’ necks before fastening them into a fluid loop with more needle-and-twine action. “I wanted to mix Frida Kahlo with Diego Rivera,” Souleiman said of the overall style, which included a mannish quiff above the hairline that was prepped with Wella Ocean Spritz for a matte texture and left hanging toward the back in a long tuft. For a finishing touch, a few girls had flower bouquets woven through their hair.

As models lined up for their first looks, we couldn’t help but notice that they all bore a striking resemblance to Arizona Muse, whose bushy arches and chiseled, androgynous features may as well have inspired the look. Muse didn’t need any help from pencils or powders, though, of course. ” I do them myself,” she revealed of her well-groomed brows, removing her headphones to chat. (On her iPod: Florence and the Machine’s Lungs.) The runway star did reveal that she too has struggled with over-plucking at one point in her life. “I recently saw a picture of myself when I was 14. It was awful!” She currently only plucks to clean up strays. Let that be lesson to the tweezer-happy among you.

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

 

[oh me]

Chloe

Makeup artist Charlotte Tilbury working for MAC Cosmetics created a “pure ’70s hippy chic” look at the Chole Fall 2011 show with chocolate brown lids and freckled skin.

Face
* Studio Moisture Cream blended with Select Cover-up Concealer – blended over skin for a radiant, light coverage
* Medium, Meidium Deep or Dark Mineralize Skinfinish – used in the appropriate shade to contour the cheeks and warm the center of face
* Cork and Stone Lip Pencils – used to imitate a smattering of freckles across the nose and cheeks
* MAC Pro Invisible Set Powder – applied over the middle of the face where needed

Eyes
* MAC Pro Dark Brown Cream Colour Base – all around the eye, very diffused so it is soft not smoky
* Studio Moisture Cream – appliced over the upper eyelids for a moist, but not glass sheen
* MAC Pro Lash Curler – used to achieve a super curled upper lash
* Zoomblack Zoom Lash Mascara – several coats on both upper and lower lashes
* Fling or Lingering Eye Brows – accentuates and sculpts the brows

Lips
* Freckletone Lipstick – patted on the lips and then lightly powdered, for a creamy finish

makeupforlife

Chloe always have amazing make-up looks.