Runway Makeup F/W 13.14

[flyme2themoon]

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Jason Wu
Makeup: Diane Kendal
Hair: Odile Gilbert​

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Seeing Blue, Backstage At Jason Wu
February 8, 2013

As makeup artist Diane Kendal worked feverishly to perfect the forty-plus girls who walked in Jason Wu’s Fall show, the compliments were coming from all corners of the room. “It’s a beautiful blue,” model Hanne Gaby Odiele remarked of Kendal’s eye color of choice as Wu himself and his stylist Kate Young came over to admire her handiwork. “It’s amazing,” Wu beamed. “It’s the perfect shade.” Color matching was the easy part for Kendal, as Wu had given her a piece of fabric from his dark cobalt finale dress to work from; the application, however, took some finessing.

“I applied it in the crease and then blended it,” Kendal explained of the inky blue pigment she swept across a blonde-again Jessica Stam’s eyes, a preview of the first piece of Wu’s debut cosmetics collection for Lancôme, due out this Fall. Using its Le Crayon Khol in Purple Dusk close to the lash line for definition, Kendal added a shimmering lilac pigment to the center of lids to create a multidimensional effect before dragging the mixture underneath and out toward the temple. Lashes were treated to multiple strokes of Lancôme’s Hypnose Drama mascara in Excessive Black, while skin was kept clean and slightly defined with a subtle peachy-bronze contour.

Not to be outdone, Odile Gilbert devised a similarly statement hair look. “I want the designer to be like, ‘Wow,’ ” she said of the “chic and elegant” updo that had no less that eight interwoven sections, she estimated. Prepping hair with Kérastase Resistance Ciment Thermique Heat-Activated Reconstructor Milk and its shine-inducing Elixir Ultime Moringa Immortel, Gilbert crafted precise center parts to add a dose of sophistication before dividing a large front panel from ear to ear and parceling out long plackets of hair. “I go like this,” she said while acting out the crisscrossing motion by which she layered strands over each other before gathering them into a tucked-under chignon that served as a veritable pincushion to secure the style. Two long silver barrettes, slid into place on an angle, increased the “wow” factor.

Source: vogue.com, style.com

 

[flyme2themoon]

BCBG Max Azria
Makeup: Val Garland
Hair: Laurent Philippon
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February 8, 2013
Bohemian Meets Grunge Backstage at BCBG
By Olivia Landau

“A free-spirited bohemian girl that knows what looks good on her” was how Laurent Philippon, head stylist for Bumble and bumble, described his hair inspiration for BCBG Max Azria’s collection. To achieve this look, Philippon used a combination of Bumble and bumble’s Thickening Spray and Surf Spray. The pairing of these two products created a “light and voluminous sideswept look.” He finished off each model with Bumble and bumble’s newest product, Cream Contour, a hair texturizer that can be used on any hair type. “I wanted a worn-out look with a lot of lightness, I didn’t want any weight at all, and this Cream Contour is perfect for that,” said Philippon. Each model’s look was topped off with a beanie.

Val Garland, lead makeup artist for Sephora Pro, used browns and neutral tones for a grunge-meets-Middle East-inspired look. Using Sephora waterproof liner in dark brown matte, Urban Decay 24/7 eye pencil in bourbon, and Dior Diorshow mascara in chestnut, Garland created a smoldering dark-brown smoky eye. To showcase the cheeks, she used Benefit’s Watt’s Up! on top of Stila Stay All Day foundation. The look was topped off with a glossy nude lip from Obsessive Compulsive Cosmetics Lip Tar.

Source: vogue.com, wwd.com

 

[flyme2themoon]

Richard Chai Love
Makeup: James Kaliardos
Hair: Kevin Ryan



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February 8, 2013
Military Beauty at Richard Chai Love
By Olivia Landau

“The look for today is Thirties military inspired,” said James Kaliardos, lead makeup artist for Maybelline. Using the brand’s Dream Fresh BB Cream, Kaliardos created “natural coverage” for the face. To showcase the eyes, he used Color Tattoo eye shadow in the Tough as Taupe color for a smoky eye, which he complemented with Rocket mascara at the tips of the lashes. Beige-toned Color Whisper lipstick was added to the lips. Looking to fall beauty trends, Kaliardos identified “bright pops of color” on lips as a big one to watch.

Prior to being made up, models were given a dose of Dr. Jart skin care. “We want to brighten and hydrate the face before makeup,” said Joy Fennell, a representative from Dr. Jart. Using the brand’s V7 Cleansing Foam, Fennell removed skin impurities and prepped the skin for moisture. Once each model’s face was fresh and clean, she applied the brand’s Water Fuse Water-Sure Gel for added moisture. “The gel has soothing hydration [and] is great for sensitive skin, like most models have,” said Fennell.

Hair, styled by Kevin Ryan, was designed to achieve an “effortless military-inspired” feel using dry shampoo and a heavy hand of hair spray. “Dry products are the way of the future,” said Ryan. He created a disheveled low ponytail with a deep side part. On each of the models, one side of hair exposed the ear and the other side was covered. Dry shampoo was also used on the male models to impart a messy “hat-hair-inspired” look.

To complement the military inspiration, Deborah Lippmann’s Harem Silks From Bombay was applied to each of the girl’s nails. This never-before-seen boysenberry shade ties the undone edgy look together.

Source: wwd.com

 

[flyme2themoon]

Creatures of the Wind
Makeup: James Boehmer
Hair: Odile Gilbert

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Lids as Good as Rose Gold, Backstage at Creatures of the Wind
February 7, 2013

“It’s always about many things with Shane and Chris,” NARS director of global artistry James Boehmer said backstage at Shane Gabier and Chris Peters’ Creatures of the Wind show. Boy was it ever. Boehmer ran off an inspiration list that varied between World War II teddy girls, Memphis furniture, and the “plasticized nature of candy,” which led him to a surprisingly understated makeup look, all things considered. “You don’t see it right away,” he pointed out of the rose-gold cat-eyes he traced onto models’ eyes using a mix of NARS Multiples in Maldives, a creamy bronze, and Copacabana, a dark champagne, with its Single Shimmer Eyeshadow in Nepal, a frosty mocha. “The texture is really pearly,” he continued of the lids, which caused him to keep the skin super-matte in contrast, using NARS Sheer Matte Foundation dusted with its Loose Powder. Brows were brushed up with its forthcoming Brow Gel, while lips were treated to a shot of moisture courtesy of its NARSskin Total Replenishing Eye Cream.

Hairstylist Odile Gilbert was going for “cool, with a touch of sophistication,” which lead her to a dual-textured, middle-parted style. Using Kérastase Resistance Ciment Thermique Heat-Activated Reconstructor Milk to “flatten” hair at the root, Gilbert employed a three-pronged curling iron to create glossy ridges through the lengths, coating them with its Elixir Ultime Moringa Immortel serum to add shine. “It helps achieve the look and treat the hair at the same time,” she boasted of the multitasking product.

Source: style.com

 

[flyme2themoon]

Tadashi Shoji
Makeup: Luc Bouchard
Hair: Rodney Cutler


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February 8, 2013
Tadashi Shoji's Wintery Beauty
By Olivia Landau

“Imagine a young girl running through the Russian tundra” was how Luc Bouchard, lead makeup artist for MAC Cosmetics, described faces at Tadashi Shoji’s collection. To achieve this frostbitten look, Bouchard forwent foundation, opting for MAC Skin Smoother instead. To showcase the eyes, he applied Superslick liquid eyeliner near the lash line in a shimmery silver for a wintery flick of light. To complement the look, Bouchard frosted the inner eyelid with Omega eye shadow and highlighted the nose and cheekbones. A dark burgundy lipstick was applied to the lips for a “just bitten” look.

“The inspiration for today is a Gothic disheveled look,” said Rodney Cutler, for Redken and Ulta. To achieve the style, Cutler, founder of Cutler Salon, used Redken Guts as a foundation to give the hair, well, “guts.” Powder Grip was then applied to the hair so it stayed in place without showcasing the tackiness of hair spray. To finish off the look, each model’s hair was then twisted behind the left ear and into a bun over the right shoulder.

To accent the frosty theme of the makeup, Joy Johnson, nail artist for China Glaze, applied the brand’s newest nail color on all of the models. China Glaze’s Dandy Lyin’ Around, from its Avant Garden Collection, is a wintery pearlescent white color with a touch of sparkle. “The color isn’t too over-the-top, but it definitely accents the pieces very well and almost matches the silver liner on the eyes,” said Johnson.

Source: wwd.com

 

[flyme2themoon]

Kenneth Cole
Makeup: Romy Soleimani
Hair: Didier Malige
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Considering Crimson, Again
February 8, 2013

Red lips are a dime a dozen these days. From the runway to the red carpet, and increasingly in the real world, they’ve regained their previous icon status, becoming a—nay, the—culture-crossing beauty statement of the last few years. So how do you update something that has, in its ubiquity, become almost ordinary? You make it complicated—really, really complicated. Or so the thinking went backstage at Kenneth Cole Collection, a comeback show for the designer, where makeup artist Romy Soleimani used not one, not two, but five different products to create a series of diffused “New York urban” mouths. Lining lips with MAC Lip Pencil in Nightmoth, a dark raisin (that’s one), Soleimani filled them in with a blend of its Lipstick in Cyber, a deep blackberry, at the corners (that’s two) and Ruby Woo, a true scarlet, in the center (that’s three). She then framed pouts with another etching of MAC Lip Pencil in Cherry along the perimeter (that’s four), going back in with its Chromagraphic Pencil in Black Black in the corners (that’s five), before using a lip brush to blend the mix of pigments, creating an ombré effect. Add to that hairstylist Didier Malige’s slicked-back coifs that relied on Jonathan Product’s Silky Dirt Shine & Define Crème for a super-sleek finish, and the new-era red lip became the focal point of the face—and our renewed interest in the crimson institution.

Source: style.com, fashionising.com

 

[flyme2themoon]

Rag & Bone
Makeup: Gucci Westman
Hair: Guido Palau



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[Style.com's] Senior Beauty Editor Celia Ellenberg's take:
Backstage at Rag & Bone, all of the usual beauty suspects seemed to be present and accounted for: Black eyeliner? Check. Texturized, broken-up hair? You bet. But there was something decidedly different guiding their execution for Fall. "The mood board was all sixties," makeup artist Gucci Westman revealed, explaining the absence of the grunge-heroine influence that often guides the look at David Neville and Marcus Wainwright's shows. "We had to evolve someday. We couldn't do Kate Moss forever," the Revlon global artistic director joked.

But the classic downtown cool-girl code that has long reigned here was not gone—far from it. "This felt more obscure," Westman explained of the thin banana liner she was drawing through the crease of models' eyes with an uncharacteristically elongated stroke of Revlon ColorStay Liquid Eye Pen in Blackest Black and its ColorStay Crème Gel Liner in Black. "The typical sixties shape starts closer to the nose," she continued, pointing out that in contrast, her etchings began about a quarter of an inch from the inner corner of the eye and extended out toward the temple. "We want [the girls to feel pretty]," Westman continued, insisting that both the top and bottom lashes were slicked with Revlon PhotoReady 3D Volume Mascara in Blackest Black but that no fake lashes were used, to keep things authentic. Arches were groomed with Revlon Brow Fantasy pencils while lips were bumped up a touch with its ColorStay Ultimate Suede Lipstick in Supermodel, a sheer mauve-berry.

Guido Palau echoed the sixties feeling by starting off the Fall show where he left off for Spring and sculpting a super-deep side part. "It's almost like a comb-over," the Redken creative consultant pointed out as he prepped strands with Redken Guts 10 Volume Spray Foam Mousse to create grip before applying its Power Refresh 01 Aerosol Hair Powder through the lengths for a matte finish. "A regular side part seems sophisticated, but a deep side part is boyish and also has a rebellious feel," Palau offered, spritzing Redken Quick Tease 15 Backcombing Finishing Spray through the lengths and gathering them into a ponytail before securing a "spiky bun." Your classic Twiggy homage, this was not.

Source: style.com

 

[Jinadaze]

Flyme2themoon, you're the best!

 

[flyme2themoon]

^ Thanks! I'd think the same of whoever contributed to this thread too.

Nicole Miller
Makeup: James Kaliardos
Hair: Kevin Ryan

February 10, 2013
Seventies Tomboys Backstage at Nicole Miller
By Belisa Silva

It was masculine meets feminine backstage at Nicole Miller’s fall show.

James Kaliardos, for MAC Cosmetics, said he was inspired by Jerry Hall in the early Seventies, “when she was wearing three-piece suits. It’s still drop dead gorgeous but there intensity in the eye area,” he said. “It’s like she’s saying, ‘don’t f--k with me.’” Kaliardos used BB Cream as foundation and Barefaced Blush on the contour and the apples of cheeks. He then hollowed out eyes with Fashion Fix Prolongwear Eyeshadow and created the same shape but smaller with Scarab green MAC Pro Eyeshadow. “It’s a light lid and heavy in the crease,” said Kaliardos, who used paint pot “camel coat” in the center of the eyelid, curled top lashes and applied one coat of Haute & Naughty Too Black Lash on the top. Brushes were groomed, brushed upwards with Clear Brow Set. Oyster ProCream Shadow was used on cheekbones and the inner corner of the eyes for highlight. Lips were softened with lip conditioner and given a coating of a “mauve nude” lipstick. “It’s a play on masculine and feminine,” he said. When asked about beauty trends for fall, Kaliardos said he was hoping for brightness. “I love color on the eye or a bright lip,” he said, naming hot pink, orange and orange-red as colors to watch for.

Kevin Ryan for RSession Tools, created runaway-inspired style and “dry texture” with plenty of dry shampoo and a double barrel Iron. Ryan began by applying Aveda Phomollient styling foam before infusing in a soft wave with a new RSession double barrel tool called Tidal Wave, launching in the spring. “One barrel is large and one is small,” he said. “It’s not your average curl.” He then added volume by “fluffing hair” with ample amounts of Oribe Dry Shampoo. “She’s a bit of a fighter but it still feels easy,” he said.

Nails, created by Butter London global color ambassador, Katie Hughes, referenced “a girl who dresses like a boy.” There were three iterations: a “teal mossy green” called Stag Do, a “rock chic” shade, created by layering Royal Navy with Wallis, a glimmering gold, and a blue, jeweled look, created with Royal navy and a custom chrome shade, used as a “single finger embellishment.” The still unnamed metallic hue will be available in summer 2013. Looking to spring, Hughes predicted “lots of embellishment and metallics — like bronze and gold — to show off gorgeous tans,” Hughes said, also predicting “grown up nail art,” half moons, pointed long nails and pastels. “Everything goes now,” said Hughes, who began each look with Butter’s Nail Foundation and finished each with P.D. Quick Top Coat.

Source: wwd.com

I'll post the nails (for this show & others) whenever I find a good shot of them.
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[flyme2themoon]

Prabal Gurung
Makeup: Charlotte Tilbury
Hair: Paul Hanlon
Nails: Jin Soon Choi

February 9, 2013
Prabal Gurung's Healthy Glow
By Jayme Cyk

A feat of strength was represented at Prabal Gurung’s show Saturday.

“He wanted the girls to feel very empowered,” said lead makeup artist for MAC, Charlotte Tilbury. “But not in a classic Amazonian way, but more in a modern fresh-faced way.” Prepping the skin with Prep + Prime Moisture Infusion, Tilbury then gelled the eyebrows and brushed them upwards with MAC’s Clear Brow Set. Next, Tilbury mixed Red Statement and Rich New Mood and applied it with her fingertips to the top of the cheek and blended it away from the center for a flushed effect. “It’s that ruddy, healthy glow that would naturally occur when you’re sixteen and you’re kung fu fighting outside,” said Tilbury. “[Gurung] was very much inspired by these women in the Ukraine fighting for women’s liberation.” The eyes were blurred with a deep brown crème to create a natural shadow around the eyes. And lips were topped off with lip conditioner.

Paul Hanlon, working with OSiS by Schwarzkopf Professional, emphasized the importance of texture in this undone hairstyle. “It’s a slightly exaggerated version of when a girl goes for a fitting,” said Hanlon. Hanlon used a bottle of Dust It Mattifying Powder in each girl’s hair, which was pulled back in a messy bun, to give it a weathered appearance. He then finished with Elastic hair spray to catch any strays, while using a blow dryer to smooth them out.

Jin Soon for Sally Hansen created what she called a “skinny V.” Starting with a gold base, she then layered two diagonal shades of army green, leaving a slim triangle filled with gold. “He wanted something powerful,” said Soon, “ so I came up with some simple, elegant nail art.”

Source: wwd.com

 

[flyme2themoon]

Monique Lhuillier
Makeup: Val Garland
Hair: Odile Gilbert
Nails: Michelle Saunders





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February 10, 2013
Graphic Eyes and Hair Backstage at Monique Lhuillier
By Belisa Silva

Makeup, by Val Garland for MAC, was centered around a graphic, “stamped” black eye. “[The collection] is very elegant, very red carpet, evening. So we thought we’d get in and do a very graphic eye that is a little bit more edgy,” said Garland, who used MAC Blacktrack gel eyeliner in a blunt line, under and over the eye. “The inspiration was deco Thirties architecture,” said Garland. “There are a lot of graphics in the clothing.” Skin was left clean and healthy looking, keeping the attention on the eye. “We kept the skin gorgeously beautiful and clean and just put this stamp on the eye,” said Garland, who didn’t use any mascara on the look. “It’s all about the graphic liner and keeping the lashes unadorned. Lips were natural, given a dab of real color, pink,” she said.

Hair, styled by Odile Gilbert for Kérastase, was sleek but edgy, featuring ribbons of black suede wrapped around a neat undo. To begin, Gilbert created a very deep part then pulled all hair together to the side and wrapped it in a rubber band, keeping the sides slicked down. “It’s very sleek ponytail, very low,” she said. “We twist the hair, we put the ribbon in suede and from there we create the chignon.” Doubleforce Hairspray was added to keep hair in place and impart the high shine. “It’s modernity,” Gilbert said simply of the look. When asked, Gilbert was hesitant to name upcoming seasonal trends. “Fashion is a constant movement,” she said. “It’s not that you want something to come back, you want to modernize it. I live day by day. I live in the moment I am doing something.” Gilbert also stressed the beauty of individuality. “Its about the personality,” she said. “Even if you do a look on the model it’s never going to look exactly the same because everybody is different.”

Nails, created by Michelle Saunders, of Essie, featured two shades. One coat of Over the Top, an icy gray, was applied to fingers “to go with the embellishment of the collection,” while Stylenomics, an inky almost-black with a deep hunter green base, was used on feet. “It’s really dark,” said Saunders. “[Monique] wanted something dramatic but elegant to go with her shoes, which are really a highlight of the collection. She didn’t want to do burgundy or red. And she didn’t want to do a black, but something kind of in between, something edgy but elegant and this was the perfect color.”

Looking to spring and fall Saunders said, “I have to say I see a lot of nail color still in the forefront and nail art is super impactful this runway season.”

Source: wwd.com and fashionising.com

 

[flyme2themoon]

Victoria Beckham
Makeup: Diane Kendal
Hair: Guido Palau
Nails: Marian Newman

Backstage at Victoria Beckham this morning, the designer ordered up what’s become something of a signature helping of simple, modern, and sophisticated beauty. Guido Palau’s loose ponytails were slung low, left wispy, and treated to a high-shine texture, accordingly, while Diane Kendal kept makeup on the natural side, tinting lids with MAC Sculpting Cream in Coffee Walnut and contouring the face with its Prep + Prime Transparent Finishing Powder. As for the nails, they were groomed and unassuming—pretty self-explanatory, or so we thought. “I’m using a Nail White Pencil,” Marian Newman explained of the stick she was implementing to clean under the edges of models’ fingertips, lightening the nail in the process. “It looks like eye liner, but it’s thicker,” she continued of the new-to-us tool from Rimmel London that boosts the healthy appearance of nails without trying too hard. Slicked with a top coat of MAC Overlacquer and buffed for a glossy effect, it made for an impressively clean, perfect-looking manicure. You learn something new every day in the backstage trenches.

Source: style.com

 

[flyme2themoon]

Tommy Hilfiger
Makeup: Diane Kendal
Hair: Eugene Souleiman



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February 11, 2013
All-American, Preppy Chic Backstage at Tommy Hilfiger
By Julie Naughton

Unsurprisingly, all-American, preppy chic ruled the day at Tommy Hilfiger. Diane Kendal, working with MAC at the show, did “a very beautiful, natural, clean face.” She started by prepping the models’ faces with MAC Complete Comfort Créme, adding Face and Body Foundation and Studio Finish Concealer to create a perfect canvas. Next, she brushed eyebrows up, filling in sparse areas with pencil before adding eye shadow in Onyx to further define the brow. MAC’s Paint Pot in Stormy Pink was applied in the crease of the lid with a brush, following the eye’s contour and shape, and a tiny bit was added under the eye. A very thin line of black eyeliner was applied on the top lash line, and eyelashes were curled. Eye shadow in Exposed was used as a blush on the apple of the cheeks. To finish, Kendal applied foundation to the lips, covering it with Prêt-à-Pretty, a soft pink lipstick.

Eugene Souleiman kept hair even simpler than the makeup. “The only products we used were shampoo and conditioner,” he said, adding that each model’s hair was washed before he began styling. After creating a middle part, he used a blow-dryer, leaving the hair just short of being completely dry for a natural look. “We felt we should do glam in an easy way, especially as there are a lot of hats in the show,” Souleiman explained.

Source: wwd.com

 

[flyme2themoon]

Altuzarra
Makeup: Tom Pecheux
Hair: Paul Hanlon


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[style.com's] Senior Beauty Editor Celia Ellenberg's take:
"He respects women," Tom Pecheux gushed when talking about Joseph Altuzarra. "His clothes are fashion, but wearable fashion," the makeup artist continued, showering Altuzarra with accolade after accolade while describing his collection, a favorite stop for Pecheux in New York. "It's very tailored mixed with a little craziness, it's a little [Thierry] Mugler-ish, it's very…Carine Roitfeld," he finally relented. "You said it!" an excited Daria Strokous exclaimed as Pecheux applied MAC Mineralize Moisture Foundation and its Prep and Prime Translucent Loose Finishing Powder to pale out her skin following a moisturizing massage. How so? "You know how [Carine] wears those pencil skirts? I was shooting with her once and underneath was the sexiest slip, but no one sees it. It's that kind of woman," Strokous elaborated.

For Fall, Altuzarra's woman was spiked with a touch of "spookiness," according to Pecheux, which caused the face painter to play with a black smoky eye—another Roitfeld signature—while making sure it was not aggressive. Using the creamy onyx Oil Slick Black from MAC's Fall Forecast Eye Palette, Pecheux diffused the pigment across models' lids with his fingers so there were no hard edges, dragging it halfway underneath the lower lash line as well. To that, he added a metallic raspberry stroke of its Eye Shadow in Loves Lure, also only halfway to the inner corner, which had a bruised quality to it but was meant to create the illusion of madness, Pecheux explained. "It's a little Belle de Jour fantasy," he surmised, taking down lips with MAC's Paint Pot in Tailor Grey.

Paul Hanlon added Patti Smith and Kate Moss to the inspiration list when describing his texturized, lived-in locks. "It's a bit rock 'n' roll, like it's a few days old," he explained taking all the volume out of models' strands with a cocktail of OSiS Schwarzkopf Grip Extreme Hold Mousse and its Buff Light Styling Cream, twisting as he blow-dried to further flatten the hair shaft. Then, section by section, he worked in OSiS Schwarzkopf Magic Anti-Frizz Shine Serum all the way to the roots for a "greasy' effect that was enhanced by its BC Hairtherapy Oil Potion Finishing Treatment through the ends for separation. "It's stringy," Hanlon said imparting a bend to the mid-lengths with a low-lying elastic that he removed before the show started. "It's the opposite of beautiful, rich, quality hair."

Source: style.com

 

[flyme2themoon]

Diane von Furstenberg
Makeup: James Kaliardos
Hair: Orlando Pita





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[style.com's] Senior Beauty Editor Celia Ellenberg's take:
Being a designer backstage on the day of your own show comes with a few perks—including on-site touch-ups with some of fashion's best hair and makeup people. "Can you do what you did before," Diane von Furstenberg beseeched James Kaliardos as he was applying the show's look to a model in his chair. Von Furstenberg was looking to re-up on her ruddy smoky eye—and to dole out a few words of wisdom in the process. "The idea with the color," she said, motioning to the MAC Chromagraphic Pencil in Process Magenta that Kaliardos was blending with its Lip Conditioner for a semimatte finish, "is whatever you're doing, close the deal."

"It's a look that makes you win in life," Kaliardos continued of the seventies glam-rock makeup, which featured diffused red lids, courtesy of MAC Cream Eyeshadow in Rusted Red from its forthcoming Fall trend palette that he blended with its Cream Eyeshadow in Oyster, a shimmering champagne, to add a highlight to the inner corners of eyes. Sculpting skin with warm shades of MAC Face and Body Foundation, Kaliardos filled in brows with its Eye Shadow in Omega before swiping on a few coats of its Haute & Naughty Mascara to enhance the drama. Toes were painted with a combination of Essie's fuchsia Plumberry and Miami Nice to match models' mouths.

Orlando Pita added to the "life is a party" inspiration—von Furstenberg's party, specifically—with seventies-style sets that he side-parted and treated to a few spritzes of his T3 Elevate Heat-Seeking Iron Volumizer hair spray and a one-and-a-half-inch curling iron to implement a slightly disheveled wave. "Diane is about inspiring women," he said, prompting him to skip hair extensions to avoid total uniformity, catering instead to models' individual lengths.

Source: style.com

 

[MulletProof]

flyme2themoon, awesome job as usual. Looking forward to see info + beauty shots on 3.1 Phillip Lim.. my favorite so far.. so pretty.

 

[flyme2themoon]

Vivienne Tam
Makeup: Maud Laceppe
Hair: Jeanie Syfu

http://imgbox.com/acjEpRs5

February 11, 2013
Punky Beauty Backstage at Vivienne Tam
By Belisa Silva

Beauty backstage at Vivienne Tam was inspired by punk culture.

Hair, styled by Jeanie Syfu for TRESemmé, was meant to nod to the Eighties New Wave movement in a “modern, feminine” way. Syfu created the updo by first applying TRESemmé 24 Hour Body Mousse through the roots and blowing dry with a Mason Pearson brush, pulling hair back gently to create a flat, clean hairline. She then sprayed 24 Hour Body Finishing Spray around the hairline and pulled hair into a ponytail just below the crown. Next, she applied the brand’s Keratin Smooth Serum throughout the ponytail and twisted it upwards, securing with pins along the way. The look was held in place with an elastic at the top and the ends of hair were flat-ironed for a “choppy effect” and left to fall freely in front of the face. "An easy way to achieve faux fringe is by creating a simple top knot and leaving the ends out, swept across the forehead,” said Syfu.

“This gives the illusion of fringe so girls can experiment with bangs without having to pick up scissors." When asked what has been inspiring to her in 2013, Syfu said, "I love the fact that I haven’t picked up a curling iron yet this season. I want to step away from waves and I’m being inspired by sleeker styles. The look is a little disheveled, but it’s more about using a flat iron to create textured styles that are still polished. Where I live in Brooklyn, I'm seeing girls embrace natural texture and straighter styles."

Makeup, done by Maud Laceppe, for MAC, had a “Nineties, sophisticated punk-chic” feel, she said. On skin, Laceppe applied Pro Longwear Concealer Face & Body with a foundation brush and blended it with her fingers until skin looked “perfect.” Eyelids were coated in Pearl and Shell Cream Colour Base with fingers and extended to lips and nose for highlights. Taupe blush was used on cheekbones and blended into the apples of the cheek. Mineralize in Soft and Gentle was applied all over the face and ears as a setting powder.

Source: wwd.com

 

[flyme2themoon]

Donna Karan
Makeup: Charlotte Tilbury
Hair: Eugene Souleiman




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[style.com's] Senior Beauty Editor Celia Ellenberg's take:
"The set is major," Eugene Souleiman pointed out of the scene at Donna Karan's Fall show, which featured a sculpture created by her late husband, the artist Stephan Weiss. Its presence was part of an overall return to what makeup artist Charlotte Tilbury called "the Donna Karan DNA," but it inspired Souleiman in a quite literal way. "It gave me the idea to do something architectural. This is hair architecture, really," he said of the conical ponytails he designed for the occasion.

Separating a section of hair in the center of the head, Souleiman created an internal ponytail. This was bound with twine before he added a blunt-cut, rounded extension to the base, which he covered with the remaining hair. "We wanted something that was very iconic—new classicism," he continued of the look that he thought had a dominatrix, "ready-to-wear meets couture" sensibility to it. "There's a subtlety, though," he insisted, pointing out that from the front, you just see a hair-sprayed, slicked-back updo, but when you see it from the side, "you go, whoa!"

Tilbury was going for high impact from all angles with the "really greasy" smoky eye she built using MAC Paint Pot in Blackground topped with a swipe of Elizabeth Arden Eight-Hour Cream. "It's a Peter Lindbergh kind of girl, with a modern twist," she surmised, contouring cheeks with MAC Sculpting Cream in Copper Beach and highlighting the high planes of the face with its sheer, shimmery Cream Colour Base in Luna. Lips were left nude with a finger-pressing of its Lipstick in Fleshpot.

Source: style.com

 

[flyme2themoon]

Thakoon
Makeup: Diane Kendal
Hair: Odile Gilbert







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All That Glitters Is Blue, Backstage At Thakoon
February 11, 2013

Blue eye makeup was a big hit on the Spring runways and it has already had a few standout showings for Fall too—with good reason, according to Diane Kendal. “Midnight blue gives off a winter feel,” the makeup artist explained backstage at Thakoon, where she was layering NARS Single Eyeshadow in Outremer, a deep indigo, with its new-for-Fall Eye Paint in Ubangi, a similar shade of cobalt that was given a shimmering blue accent with its Duo Eyeshadow in Marie Galante. “The collection has fur stoles, but it’s inspired by summer clothes,” Kendal said, referencing the dragonflies and dandelion prints that adorned the designer’s pieces. “We wanted to reflect that with the makeup.” To wit, she implemented a warm-weather beauty staple that has long gotten the youth vote: glitter. “I’m using three of them,” Kendal effused, applying a liquid set to hold the deep bronze flecks that were diffused toward the outer corner of the eye, while gold sparkles were dusted across the center of lids, and a pink shade was tapered inward. Nails were flecked with clear silver sparkles, courtesy of a single coat of Priti NYC’s Bristol Fairy. To finish the face, Kendal chose to skip lip color—as well as lash lacquer. “Sometimes when you put on mascara it can look old,” she surmised.

Odile Gilbert instituted her own fun and flirty element into an otherwise simple series of chignons via a graphic, micro fringe glued halfway across the hairline. “It’s like you have a little hat on the side of the head,” she said, coating roots with Kérastase Paris Resistance Ciment Thermique to create a sleek finish, as she tightly pulled hair back away from the face, revealing a gem-encrusted ear cuff worn by ten of the shows more elite catwalkers, including Aline Weber, Bo Don, and Xiao Wen.

Source: style.com

 

[flyme2themoon]

flyme2themoon, awesome job as usual. Looking forward to see info + beauty shots on 3.1 Phillip Lim.. my favorite so far.. so pretty.

Thank you. I agree, it's pretty, but not one of my highlights (probably because I couldn't pull off the lip color ).

3.1 Phillip Lim
Makeup: Francelle Daly
Hair: Paul Hanlon

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Uptown Girls Living In a Downtown World, Backstage At 3.1 Phillip Lim
February 12, 2013

There’s always a bit of a downtown, cool undertone to the beauty look at 3.1 Phillip Lim, which is why it was surprising to hear NARS’ Francelle Daly describe the makeup as “uptown sophisticated.” “She’s a girl with an edge, though,” Daly added. “Like she has a rock ‘n’ roll boyfriend—or is in a band.” Phew.

The sophisticated bit was a reference to the flawless skin Daly achieved by combining NARS’ forthcoming Radiant Cream Compact Foundation with its Light Reflecting Loose Setting Powder. Cheeks received a slight flush courtesy of its Highlighting Blush in Miss Liberty, a light peach, and its Multiple in Copacabana, a shimmering champagne, while lids were given a camo tone with NARS’ new-for-fall Single Eyeshadow in Yamal. Then came that pout, which offered an interesting update to Fall’s favorite mulberry mouth while “complementing and finalizing” the look, according to Daly. Lining and filling in lips with NARS’ Lip Liner Pencil in Kenya, a cinnamon color, Daly layered that with its Eye Liner in Mambo, a dark cocoa, for an ultra-rich chocolate-cherry hue. “There’s an expensive taste to it,” she said.

Paul Hanlon did his part by honing in on a specific texture that he described as “a little Kate Moss”—a favorite inspiration for Hanlon’s special brand of deconstructed chic. Prepping hair with Frédéric Fekkai Full Blown Volume Styling Whip to give it a bit of grip, Hanlon administered a relatively done-up blow-out to start. “We’re making it beautiful, then we’re destroying it,” he explained, “because if you start with a destroyed texture, it can look poor.” Then, spritzing with Fekkai’s Luscious Curls Wave Activating Spray, Hanlon ran sections of hair through a curling iron to give it movement, side-parting strands and “clumping” them together in the back with bobby pins, “as though it had been caught in a scarf.” Another pin was also slipped above the ear on one side in a haphazard way so that it appeared as though “the girls literally walked off the street and into the show.”

Source: style.com'