Runway Makeup F/W 12.13

[flyme2themoon]

Christian Dior
Makeup: Pat McGrath
Hair: Orlando Pita

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“Simple Beauty” Debuts Backstage At Dior
March 2, 2012

Backstage at Christian Dior, nary a stick-on paillette or faux fringe could be spotted between the hair and makeup stations. No elaborate headpieces, crazy lipsticks, or redrawn, drag show-worthy eyebrows, either. Instead, Pat McGrath used a neutral color palette to create a clean, pretty face. Were we at the right show? “It’s just simple beauty,” she explained, uttering the S-word here for the first time in recent memory. “They really wanted the girls to be minimal,” McGrath continued of the direction that Bill Gaytten gave his design team for Fall. “And they wanted that to be the inspiration for the makeup as well.”

This meant a swipe of gold shimmer on the top of cheekbones and across the eyelids, which had been stained with a wash of brown to carve out definition on the runway without the heavy smoke of a black or navy shadow. “We’re using lots of mascara,” McGrath pointed out, exaggerating top and bottom lashes while lining the inner rims of eyes with a beige pencil to open them up a bit. Lips were kept natural with a finger-patting of clear balm—a move that epitomized the bare-bones beauty that reigned here today.

“Dior created a New Look in 1947, and we’re creating a new look for 2012,” Orlando Pita surmised, fashioning deep side parts that he spritzed with his T3 Control Heat-Seeking Hair Spray and gathered into a long, low-lying ponytail. “I don’t like the wet-gel, stuck-onto-the-skin look,” he explained, referencing some other side-parted, finger-combed ponytails that have seen time on the runway this week. Instead, Pita’s side-sweeps were perfectly kempt, striking that balance between tough androgyny and ultra-femininity.

There was one wacky element, though, in the form of a texturized gold and khaki manicure created with Dior Beauty’s forthcoming crackle polish. You may remember crackle polishes as last summer’s nail trend du jour (before magnetic lacquers but after nail art pens). The specially formulated varnishes apply smooth and then slowly break apart, leaving behind a shattered appearance. What does Dior’s offering bring to the table? Well, seeing as how it’s Dior, the effect looks less like broken polish and more like…snakeskin. True luxury brands leave no detail overlooked.​

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Spotted: Dior’s Cracked Crocodile Manicure
by Catherine Piercy

Only five models—Joan Smalls, Anna Selezneva, Jac Jagaciak, Josephine Skriver, and Michaela Kocianova—wore Dior’s gold-and-khaki crocodile manicure down the fashion house’s Musée Rodin runway in Paris today, sparking an instant nail sensation in their wake. “It’s very chic, very Dior,” said manicurist Elsa Deslandes, who painted a traditional metallic-gold polish onto the nails, and after waiting several seconds for it to dry, went over it with a dark olive-green that, quite literally, cracked on contact as it dried to create a grooved reptile skin effect. The Dior shades—great with, say, fall’s two-tone crocodile-and-fur clutch—will be sold as a set and available in Canada and Europe this autumn, providing one more reason for a rendezvous in Paris.

Source: vogue.com, vogue.it, style.com's Beauty Counter Blog

 

[flyme2themoon]

Isabel Marant
Makeup: Karim Rahman
Hair: Stephane Lancien

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“Sexy, Cool” Isabel Marant Beauty, in Eight Easy Steps
March 2, 2012

While watching the magic unfold backstage at the shows is endlessly enthralling, it’s always nice to have a few palate-cleansing moments of real, natural beauty—which can be just as inspiring as a dramatic red lip or a slicked-back, side-parted ponytail. That’s why we look forward to Isabel Marant every season, where you can typically find “sexy, cool girls” like Carmen Kass, Anja Rubik, and Aline Weber congregating en masse. And we’re not the only ones (it’s worth pointing out that backstage beauty reportage is an American and British game. It’s rare to see the French editors in the interview hunt, but you can count on them to turn up for Marant’s presentations). Recognizing that it’s this kind of hair and makeup that is often the most enviable—and user-friendly—we thought we’d provide a how-to courtesy of makeup artist Karim Rahman and hairstylist Stephane Lancien, the latter of whom left us with these indelible words this afternoon: “When you feel comfortable, that’s beautiful.”

1. On a clean, freshly built dewy base, apply “a lot” of bronzer underneath the cheekbones, just below the hairline and under the chin to contour the skin. Rahman likes L’Oréal Glam Bronze, but any matte bronzer (read: sparkle-free) will work.

2. Apply a translucent powder to the T-zone (across the forehead, down the bridge of the nose, and on the chin) to manage shine and keep the warmth concentrated to the outline of the face.

3. Curl lashes (skip the mascara) and apply a very thin stroke of black kohl liner along the upper lash line, as close to the lashes as possible, for definition; use an angled brush to diffuse the pigment toward the temple, giving the illusion of an elongated wing without actually drawing one.

4. Brush brows up and fill in slightly if needed.

5. Moisturize lips with a clear balm and then use your finger to press a sheer, brick red lipstick into the center of the mouth, blending outwards. Rahman is a fan of L’Oréal Paris’ new Rouge Caresse Lipstick in no. 602.

6. Spritz sections of hair with L’Oréal Paris Elnett Hair Spray.

7. Apply heat, twisting individual sections as you hit them with the blow-dryer for a slightly textured, tousled wave.

8. Part naturally, pair with a new-era Western shirt, et voilà: chic, personified.

Source: stylebistro.com, style.com's Beauty Counter Blog

 

[flyme2themoon]

A.F. Vandevorst
Makeup: Inge Grognard

A full view of what lurked underneath the fedoras and behind the sumptuous knits...

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Source: stylebistro.com

 

[flyme2themoon]

Lanvin
Makeup: Pat McGrath
Hair: Guido Palau

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“Illustrated” Eyes And Easy Hair, Backstage At Lanvin
March 3, 2012

“It feels amazing,” Pat McGrath said when she was asked how she felt to be part of team Lanvin on the eve of Alber Elbaz’ tenth anniversary with the brand, thus summing up the general emotion of everyone who was backstage for the momentous occasion. To properly complement the designer’s collection of rich colors and feminine silhouettes without overpowering it, McGrath added a single graphic detail to the face in the form of a thick, black winged eye. “It’s all about illustration,” she explained, “like a pen-and-ink sketch,” which inspired her to draw on a meticulously pointed flick that extended up through the crease of models’ eyes and out toward the temple. Using a small angled brush dipped in a black cream eye shadow, McGrath drew another “smudged” stroke very close to the lower lash line to further define the eye against a clean, natural base that boasted highlights down the bridge of the nose and on the cupid’s bow of the lips. “It’s almost like an insignia,” she said of the stark liner, a stamped-on badge of honor for every girl that can say she walked this runway.

Guido Palau took a similarly subdued approach when conceiving the show’s hair look, opting for simplicity over elaborate structure. Shampooing all 43 girls with either Redken’s All-Soft Gentle Cleansing Shampoo or its Extreme Shampoo and taking the weight out of the back of the head by braiding an under section and pinning it to the scalp, Palau coated lengths with Redken Extreme Anti-Snap Protective Treatment to help ensure smooth strands as he employed a light blow-dry—”just to clean the hairline up.” As a finishing touch, he tucked the front pieces behind models’ ears for a slight bend. “The ease of it is the beauty,” he surmised.

Source: vogue.it, stylebistro.com, style.com's Beauty Counter Blog

 

[flyme2themoon]

Valentino
Makeup: Pat McGrath
Hair: Guido Palau

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Backstage At Valentino, You Can Never Have Too Much Of A Good Thing
March 6, 2012

By all accounts, Valentino’s Spring collection was wildly successful; take a look at any red carpet from the last year for proof. And not only is young Hollywood clamoring to wear Pier Paolo Piccioli and Maria Grazia Chiuri’s beautiful dresses, they are duplicating the season’s corresponding runway hair and makeup, too. “It’s nice, isn’t it?” Guido Palau said of the phenomenon that saw his braid coronet from last October get its turn in the bright lights of the paparazzi flashbulbs. “It’s wearable hair,” he explained of the style’s appeal and the general direction he’s been taking things here.

Palau has another winner on his hands for Fall. “They’ve developed a sort of staple for their girl,” the Redken creative consultant explained of the design duo, throwing out adjectives like “beautiful,” “natural,” and “romantic” to describe their aesthetic. Citing the seventies as inspiration, Palau prepped hair with Redken Full Frame 07 Protective Volumizing Mousse to give it a little guts before he applied heat and crafted a precise middle part. Then, coating his hands with Redken Outshine 01 Anti-Frizz Polishing Milk, he created interlocking twists from the ears around the side of the head, pinning as he went, before joining both sides in a V-shape at the nape of the neck.


Pat McGrath revisited her successful handiwork from last season as well, concentrating her “pastel face-contouring” experiment to the eyes this time around. “It’s modern, iconic beauty,” she said, weaving a halo of “lots of grays, mauves, and a little bit of lilac” across lids, dragging it softly underneath the lower lash line for a subtle wash of color. “It’s a modern Penelope Tree or Anjelica Huston,” she suggested of the effect, building up top and bottom lashes sixties-style with CoverGirl LashBlast 24-Hour Mascara in black, and filling in brows a bit so they looked well-groomed. A touch of highlighter on the Cupid’s bow of lips added to the ethereal,”serene” quality she was after. Look out for the combination on the wire in the next few months, as any number of the folksy frocks from this collection are all but guaranteed to hit the 2012 premiere circuit.

Source: vogue.it, style.com's Beauty Counter Blog

 

[flyme2themoon]

Stella McCartney
Makeup: Pat McGrath
Hair: Eugene Souleiman

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Stella’s Blue Period, Still Going Strong For Fall
March 5, 2012

“Designers design for who they are or who they want to be,” Eugene Souleiman proposed backstage at Stella McCartney this morning, and McCartney—the woman, the designer, the mother, the daughter of Paul and Linda—is just plain cool. “She’s cool, so I think the girls in her show should be cool,” according to the Wella global creative director, who used a good helping of the brand’s Ocean Spritz Beach Texture Spray to create a matte-finish chignon for Fall. “It’s very neat and clean in the back—a ladylike bun that’s really groomed,” he said of the updo, using adjectives we’ve heard many times at this show in seasons past. “But the front is more raw and a little younger,” he continued, mussing baby hairs to create a halo of light wisps at the root.

Pat McGrath added an injection of youth to the makeup as well, reprising the cobalt blue cat-eye McCartney asked for at her pre-fall show back in January, in tinted eyelash form. “It’s all about the subtle details,” McGrath said of the chunky blue gel—a specific hue that had its origins in the collection—which she coated onto a base of CoverGirl 24-Hour LashBlast Mascara in Black along both the upper and lower lash lines. Keeping skin natural with targeted applications of powder and highlighter, which team McGrath affectionately calls “shiny stick,” the face painter groomed brows and kept lips neutral and well moisturized. “Stella said to me, ‘I just love a girl with color on her lashes,’ ” McGrath said of the bold accent’s inception. Now we do, too.

Source: vogue.it, style.com's Beauty Counter Blog

 

[flyme2themoon]

Chanel
Makeup: Peter Philips
Hair: Sam McKnight

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Backstage At Chanel, “Browdazzling” Goes Big
March 6, 2012

Peter Philips is a makeup artist who likes to think outside the box—which is presumably how he scored his coveted role as Chanel’s creative director of makeup four years ago. The Belgian-born face painter became something of a household name after debuting a few off-kilter, on-trend shades of nail lacquer for the French house, but his body of work also includes its fair share of inventive application techniques, including the reoccurrence of 3-D, textural makeup. Philips incorporated this unique skill into handwoven eyelashes for Karl Lagerfeld’s Fall 2009 show; six seasons later, it’s all about the brow.

“The theme [of the show] is minerals—there are minerals coming out of the set!—so Karl made a sketch and he wanted minerals on the eye,” Philips explained, presenting a series of stone-encrusted rectangular mesh panels that he glued over models’ natural arches using a prosthetic adhesive. “We had to find a way to make it contemporary so it wasn’t like a cabaret thing,” he explained of the accessories, which led him to Lesage, the Paris-based embroidery atelier that helped turn Lagerfeld’s illustration into a reality. Creating a full-coverage base with Chanel Mat Lumière Fluid Foundation, Philips shaded lids and cheekbones with Notorious, a new eye shadow/blush hybrid from his forthcoming Les Essentiels de Chanel Fall collection, before pressing on the “brows” that came in variations of gray, green, pink, and purple. Why the elaborate embellished detail? “It’s a show, it’s a catwalk,” Philips responded, explaining that there should be room for some drama. “It also gives a uniformity,” he added, “an almost military effect, which makes it easier when you have so many girls because you have one line to do: shading and contouring and the eyebrows.” Philips’ soldiers also received two coats of his new Le Vernis de Chanel nail polish in Frenzy, a pale lilac-tinged greige, which will hit shelves in September along with Vertigo, the range’s darker hue.

“I want an army of Chanel girls,” Sam McKnight proclaimed of the uniformity he was also seeking with the hair, which manifest itself into a series of sleek ponytails. Citing a wealth of collars, McKnight wanted the hair to be up, but found that a chignon was “too madam.” Adding a severity to the style with a coat of shine-enhancing gel, he paraded around the backstage tent that had been erected at the Grand Palais to ensure that his team was gathering strands straight back into the elastic, rather than in an up or down direction. “I hate to use the word equestrian, but it’s got the strictness of a rider,” McKnight said of the precise execution, before doing himself one better and calling the aerodynamic look “the ponytail version of the Nike Swoosh.” He’d better get a copyright on that, stat.

Source: vogue.it, style.com's Beauty Counter Blog

 

[Vanillaqt]

My fave so far is the Marni make up, really nice.

 

[moment]

Loved stellas makeup

 

[daniellat]

I love it too, very do-able