Runway Makeup F/W 11.12

[The_Ida]

Prada was so pretty.

 

[Teja]

Versace


VOGUE.IT
CREDITS:
Makeup, Pat McGrath for CoverGirl
Hair, Guido Palau for Redken

THE LOOK:
MAKEUP: From the first thump of the pulsing Prince sound track to the last leather-trimmed lace-up boot, it was clear that Donatella Versace was going back to the house’s high-octane roots. Working in subtle contrast, McGrath’s glowing skin, flushed cheeks, and shaded eyes were “fresh, gorgeous, divine, but minimal.”

HAIR: Whether it was grazing the back of a canary yellow feather cocktail dress or tucked neatly under one of the designer’s colorful fur neckwarmers, Palau’s long, straight, center-parted hair looked fresh on the runway. “It’s a modern reinterpretation of glamour,” he said.

THE TOOLS:
ON SKIN: Despite a hectic week of late-night fittings and early call times in Milan, which had some models running on two hours sleep, McGrath created “beyond beautiful” skin using layers of cream blush. “It’s all about that gorgeous rosy cheek,” she said. To achieve it, she blended Olay’s Simply Ageless moisture-rich formula from the apples of the cheeks toward the temples, finishing with a few dots of highlighter high on the cheekbones and the bow of the lip.

ON EYES: For the subtlest definition, McGrath blended a soft beige shadow (CoverGirl Tapestry Taupe) across the lids and swiped brown mascara (CoverGirl NatureLuxe mascara) along the upper lashes.

ON LIPS: CoverGirl NatureLuxe lip balm “for moisture.”

HAIR: “It’s nice to see that very straight, ironed hair again,” said Palau of the late nineties staple. He added in extensions before blowing it out with Redken Hot Setts Thermal Setting Mist and running over it on the iron. He asked models to stand while he finished the look, cutting the hair straight across the bottom to create “a blunt panel” effect.
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[flyme2themoon]

Moschino

Moschino’s Fall runway may have had all the quirky twists you’d expect to see from the Italian fashion house (Coco Rocha sported a chicken hat, after all) but behind the scenes there was a well thought-out tribute to retro glamour, with nods to “high society, Mr. [Irving] Penn, and fifties makeup,” famed face painter Tom Pecheux revealed backstage. This meant yet another graphic eye sighting in Milan, but this one had a clever twist. “We stole the shape of this dark eye from the sunglasses in the collection, so it looks like every girl is wearing them on the catwalk whether she is or not,” Pecheux said as he layered MAC Single Matte eye shadow in Carbon on top of a base of its Technakohl liner in Graphblack drawn to resemble an elongated ovoid shape. To correspond with the collection’s masculine attitude, which was helped along by the appearance of a few German-style military caps, Pecheux applied a blend of MAC powder blush in Pink Swoon and Well Dressed in what he described as a “boyish” way, so low underneath the cheek bones to avoid “a pretty look.” Lips were erased with concealer to finish the face and to keep the focus on the eyes.

Hairstylist Odile Gilbert rolled models’ tresses into tight and tall conical French twists to mirror the exaggerated and elongated lids. “It’s a super-classic French twist that’s tight on the sides,” Gilbert disclosed while coating strands with Elnett hairspray, backcombing for height and texture, and pinning to secure.
—Christina Bentley

Source: style.com/beauty/beautycounter

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[flyme2themoon]

Antonio Marras

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Antonio Marras’ fascination with proportions and recycled fabrics inspired the twisted forties makeup that made a lasting impression at his show yesterday. With the collection taking its cues from the designer’s mother in the late 1940’s, a giant mood board featuring Mama Marras in her prime was erected backstage, complete with collage cutouts of lips and eyes, which were taped on top of the images’ own features. It was a bizarre and slightly jarring sight, which wasn’t lost on makeup artist Lisa Butler, who chose to focus her energy on re-creating a similarly disproportionate, enlarged mouth. “I didn’t want to get stuck in the forties with the makeup so I immediately avoided plum shades. I took a classic shade and twisted it,” she said. She constructed a two-toned pout by painting a slick of MAC Lipstick in Runaway Red—a matte crimson due out for fall—on both top and bottom lips and adding a coat of its Lip Pencil in Genuine Orange on the bottom only. The tonal experiment also had an off-kilter shape. “It’s got a joker element,” Butler pointed out with pride. “We’ve tipped up the corners of the lips, which gives an impression of a sick smirk, almost like we’ve drawn on a smile—it’s just a bit weird!” And how. But in a season that has offered up more straightforward red lipstick applications than we have room to mention here, weird is where it’s at. —Christina Bentley

Source: style.com/beauty/beautycounter

 

[flyme2themoon]

Louise Gray

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We thought it’d be hard to top the cornflower blue eyes and raffia hair Louise Gray sent down her Spring runway, but her beauty crack team was clearly up for the challenge at the designer’s Fall show this weekend. Four words: color-clashing face freckles. “They have the best pigment needed for this intense dot of color,” makeup artist James O’Reilly said of MAC’s multicolored Chromaline pigment pots, which he used to draw precise polka dots in red, yellow, white, blue and green. For an added, albeit in no way congruous, bit of flair, hairstylist Luke Hersheson fashioned box-cut fades—”It’s Kid ‘n Play, House Party, Will Smith in the Fresh Prince of Bel-Air,” Hersheson said of the flat-topped ‘dos he prepped with L’Oréal Professionnel Tecni.Art Fix Design hairspray.

—Christina Bentley

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

 

[flyme2themoon]

Jil Sander

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MILAN – As hints for his runway makeup, designer Raf Simons offered makeup artist Peter Philips such references as Dutch artist Kees van Dongen - known for his lush colors and portraits of society women – and with Fifties lifestyle magazines featuring sporty ladies. Clean streaks of bold color on lips and eyes were the result.

Alabaster skin was the base, created with Chanel’s Pro Lumière foundation. Philips drew an aerodynamic line using Chanel Stylo Yeux Jade Eye Pencil above the upper lash line. Lashes were curled, but no mascara was used.

A bold lip was “perfectly drawn” using Chanel’s Rouge Allure lipstick in Enthusiast.

“It’s very strict, precise - not one to try at home,” said hairstylist Guido Palau of the graphic, controlled wraps of hair that emulated a Fifties couture updo.

Locks were wrapped and pinned flat against the head before Palau created the flattened circular wrap, molded into place using Redken’s Hardware Gel 16 and Forceful 23 Super Strength Finishing Spray for a futuristic sheen.

Source: vogue.com, vogue.it, and wwd.com

 

[flyme2themoon]

Jil Sander - Backstage

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Source: vogue.it

 

[afterrhours]

Wasn't really a fan of the hair or makeup at Jil this season

 

[saann]

Oh God. That matte red nailpolish at Giles.

 

[flyme2themoon]

Aquilano.Rimondi

Source: vogue.com


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[flyme2themoon]

Emilio Pucci

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MILAN — Hairstylist Luigi Moreau’s fall look for Pucci was loosely inspired by Tyrolese braids.

“I didn’t want to create the obvious tight braid so I pulled hair into soft weaves at the nape of the neck,” said Moreau. John Frieda’s Volumizing Mousse was applied to hair at the roots, before it was tonged into natural-looking kinks. John Frieda’s Dry Shampoo was spritzed to create volume as required.

“We wanted a cool attitude, but a relaxed feel at the same time,” Moreau said.

Lisa Butler for MAC Cosmetics masterminded the smoldering eye that referenced Seventies rock band, Siouxsie and The Banshees. MAC’s eye kohl in Smoulder was used along the bottom lash line, whilst Tarnish, a deep forest green shade, was applied under the eye. A gold pigment was layered over the kohl to give depth.

Lashes were curled, before MAC’s Haute and Naughty lash was added to top and bottom lashes.

Cheeks and lips were left relatively neutral. MAC’s Mac Luna Cream Color Base was blended as a highlighter on cheekbones, down the nose and cupid bow.

A light taupe blush was dusted on cheekbones, before lips were stained with Girl About Town lipstick.

Source: vogue.it and wwd.com

 

[flyme2themoon]

Giorgio Armani

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THE CREDITS:

Makeup, Linda Cantello for Giorgio Armani Beauty

Hair, Oribe for Oribe hair care

THE LOOK:

MAKEUP: Cantello looked to a swatch of satin fabric from the collection when settling on her rosy, flesh-toned palette for the face. “It’s inspired by the boudoir,” she said, of the sensual, languid black lines she drew along the lids as the finishing touch.

HAIR: Oribe’s easy ponytail-knots exuded the same relaxed elegance as the designer’s liquid platinum evening jackets and blush-colored silk pants.

THE TOOLS:

MAKEUP:

SKIN: Taking a cue from the collection, Cantello gave skin a satin-like finish using thin layers of Giorgio Armani foundation and a dab of highlighting cream along the cheekbones, bridge of the nose, and bow of the lip.

EYES: The inky black slashes she winged across the top and bottom lashes stood in graphic contrast to the models’ soft pink lids. On lashes: Giorgio Armani Eyes to Kill Excess in black.

HAIR:

“There’s a movement to the hair that’s youthful,” said Oribe, who created volume at the crown using Oribe Dry Texturizing Spray, then pinned the sides back loosely at the base of the head. After pulling the length of the hair into a loose knot, he misted it with Oribe Soft Lacquer Hair Spray and pulled a few pieces free around the face for an undone effect.

NAILS: OPI Bubble Bath—a sheer pinkish nude shade—on hands.

SEEN: Twelve new shades of Armani’s Eyes to Kill shadow: The crease-proof metallic formulas contain weightless “pigments in suspension” that blur the boundaries between powder and cream. Arriving later this year, each one is inspired by the richness of Italy, from the silvery blue cast of Carrara marble to the burnt copper hue of Sienna clay.

Source: vogue.com and vogue.it

 

[flyme2themoon]

Ann Demeulemeester

Hair: Eugene Souleiman
Makeup: Rudi Cremers

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Source: vogue.com
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[flyme2themoon]

Balmain

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by Catherine Piercy

THE CREDITS:
Makeup, Tom Pecheux for M.A.C.
Hair, Sam McKnight for Pantene
Nails, Anny Errandonea

THE LOOK:
MAKEUP: The runway models—Freja, Sasha, Isabeli, and Anja, to name a few—rarely require surnames. “Naturally, we want the girls to look like themselves,” said Pecheux, who subtly heightened their features with flesh-toned pigments and subtle highlights.

HAIR: “It’s a gesture,” said McKnight of his barely fastened ponytails, which looked as if they were on the verge of coming undone as models strode coolly down the runway to David Bowie’s “Lady Grinning Soul.” “The bangs are pushed back, the hair is falling out around the face, like the girls just pulled it back and didn’t think too much about it.”

NAILS: “Clean, simple, elegant,” said Errandonea, who painted fingertips with a sheer white-based pink (Chanel nail lacquer in Ballerina).

THE TOOLS:

MAKEUP:
SKIN: “It’s makeup done in the most transparent way possible,” said Pecheux, who prepped the skin with a few drops of Rodin Olio Lusso and a dab of Estée Lauder DayWear moisturizing cream before blending fine layers of foundation over the face to create a healthy, lit from within glow.

EYES: Pecheux dabbed a glimmering champagne-colored highlighter (M.A.C. Cream Colour Base in Seaside) high on the cheekbones before swirling it together with a slightly darker shade (M.A.C. Cream Colour Base in Root) and blending it around the entire lid for definition. To create inky black eyelashes without a trace of bulk, he painted it on in fine layers using a tiny fan brush instead of a mascara wand.

LIPS: A few dabs of peach-colored gloss (M.A.C. Lipglass in Illicit) kept lips looking fresh.

HAIR: “We are seriously doing nothing to the hair,” said McKnight, who misted it with a bit of water before letting it air dry. He secured it just a few inches from the ends with a black elastic band. “If the hair has a lot of product in it from another show, we’re using a little dry shampoo at the crown,” he said. “Really, that’s it.”

Source: vogue.com and vogue.it

 

[flyme2themoon]

Dries Van Noten

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The Gold Standard, Backstage At Dries
March 3, 2011

It wasn’t hard to grasp the inspiration behind the beauty look at Dries Van Noten yesterday. “There are elements of gold everywhere,” makeup artist Peter Philips pointed out of Van Noten’s gilded brocades and the similarly lavish trims at the Hôtel de Ville. Rather than play to a collection that was heavy in elaborate prints with an equally intricate makeup look, Philips kept it simple, opting instead to offer “a quiet moment” through clean skin and gold pigments. Prepping complexions with a light application of Chanel Pro-Lumière foundation, Philips devoted his attention to lids, which were coated up to the crease with a wet application of Chanel’s Joues Contraste Blush in Gold, created for the house’s much-heralded Paris-Byzance pre-fall show—and should be hitting counters soon. To add dimension and richness, Philips added a smudged-out scrawl of Chanel’s forthcoming Ligne Extreme liquid eyeliner in gold around the upper and lower lash lines. Eschewing mascara, as has become de rigueur this season, Philips finished things off with a velvety matte, rose-nude lip.


Hairstylist Paul Hanlon was also after something “super-easy,” which meant clean hair washed on site with Bumble and Bumble’s Bb Sunday shampoo. Hanlon massaged a small helping of its Bb Prep styling lotion into the scalp, finger-combing it through strands for a slight bit of texture before creating a side part and a low ponytail. “It’s such a nice change not to use too much product in the hair,” Hanlon said. “It’s how a girl would look—not a fantasy world.” There was one fantastical element, though. Two days before the show, Van Noten decided that he wanted to bring the gold rings and bracelets from his show into Hanlon’s coifs, so he designed custom “hair rings” for the occasion. “They’re quite heavy,” Hanlon noted of the gold-plated silver accessories, which were placed over rubber bands at the base of each ‘do—and may see the light of production, if we’re lucky.
Photo: Luca Cannonieri / GoRunway.com

Source: style.com/beauty/beautycounter

 

[flyme2themoon]

Gareth Pugh

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Eye Candy, Backstage At Gareth Pugh
March 3, 2011

Seeing as how Alex Box has already proved that her face-painting skills will not be confined to two dimensions, the makeup artist’s avant-garde experiment backstage at Gareth Pugh seemed perfectly par for the course. “Religious iconography” is how Box described the inspiration for the gold and blue laser-cut eye patches that she made for the occasion using a “bespoke retro-reflective fabric that turns pure white when hit with a bright light”—like, say, a barrage of flashbulbs. With statement-making lids playing such a large part in the overall look, Box’s handiwork called for little else save for MAC Clear Brow Set to groom arches and its clear Lip Glass, which she applied to the tops of cheeks for a shiny highlight.

What it did mandate, however, were killer nails, courtesy of Minx. Working off of a waxy blue fabric supplied by Pugh’s stylist, Katie Shillingford, Minx co-founders Janice Jordan and Dawn Lynch-Goodwin collaborated with U.K.-based nail artist Marian Newman on a custom design for the show. Adhesive overlays featuring a blue canvas with gold foil framing around the base and on either side of the nail added that extra bit of inventive artiness that has become synonymous with Pugh’s presentations, finished off with similar gilding placed underneath fingertips. So far, the Paris shows have put the brakes on the manicure mania that has swept New York and London for the past two seasons. Here’s hoping this gets things rolling.
Photo: Becky Maynes / Courtesy of Minx

Source: style.com/beauty/beautycounter

 

[flyme2themoon]

Zac Posen

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Source: vogue.it

 

[flyme2themoon]

Nina Ricci

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by Catherine Piercy

THE CREDITS:
Makeup, Pat McGrath for CoverGirl
Hair, Guido Palau for Redken
Nails, Yuna Park

THE LOOK:
MAKEUP: “It’s a portrait of a lady,” said McGrath, who set her shocking “sherbet” pink lips against an otherwise neutral, artist-inspired palette. “I was thinking of Tamara de Lempicka’s modernity and Vanessa Beecroft’s use of color—the way she uses it to pull out one element of a [composition].”

HAIR: Palau was thinking “soft, sexy, and very French” backstage, where his luxe, half-up style brought to mind an early Catherine Deneuve. “It’s extremely feminine and a bit sexier than last season,” he said before fitting models like Joan Smalls with the designer’s glittering jeweled headbands, pulling tendrils loose at the sides of the face.

NAILS: “We custom mixed the color to match Arizona [Muse]’s bright coral dress,” said Park, referencing the painterly floral frock the model wore down the runway.

THE TOOLS:

MAKEUP:
EYES: “It’s a soft eye,” said McGrath, who blended CoverGirl Tapestry Taupe around the entire eye before swiping on brown mascara. Last season’s bleached brows gave way to a more natural look: “We’re just filling them in with pencils and powders, restoring their healthy shape,” she said.

LIPS: The electric pink pigment McGrath created backstage was custom mixed to match a piece of fabric from the collection.

HAIR: A blowout with Redken Velvet Gelatine created the bouncy, smooth, expensive looking “dream hair” of a proper Ricci girl. After adding volume at the crown (with Redken Aerate Bodifying Cream-Mousse), and an oversized curl at the ends, he pinned up the sides with a few overlapping bobby pins.

Source: vogue.com and vogue.it

 

[flyme2themoon]

Nina Ricci

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Source: vogue.com and vogue.it

 

[flyme2themoon]

Vivienne Westwood

Alex Box was in charge of the makeup for Westwood's Red Label show, and I think this show too.

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Source: vogue.it