Runway Makeup F/W 13.14

^ Ah it looked so different on the runway! I agree that bronzed shade is difficult (I wouldn't try it either). On the runway it reminded me more of Chloé F/W 08.. with the loose hair (except it was a braid at Chloé) and dark lips. :heart:

* eta: think they alternated between two shades on different girls right?, not just cinnamon, cause the bottom one on the left looks different.. matte too.

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nowfashion.com
 
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I've been loving the make-up at most shows so far this season. I'm glad we're seeing more typical fall/winter colors and none of that flashy OTT stuff that we've had the last few seasons. I agree, the make-up at Phillip Lim was stunning, it's my favorite so far, too. Although I expected the lip color to be darker from the pictures on NowFashion (ETA: haha, I hadn't seen your post when I wrote this, MP). It looks stunning on Antonina Vasylchenko (model in the last row on the left), wow. Thank you so much for the thread and all the great posts, flyme2themoon! :kiss:
 
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^ You're welcome!

^ Ah it looked so different on the runway! I agree that bronzed shade is difficult (I wouldn't try it either). On the runway it reminded me more of Chloé F/W 08.. with the loose hair (except it was a braid at Chloé) and dark lips. :heart:

* eta: think they alternated between two shades on different girls right?, not just cinnamon, cause the bottom one on the left looks different.. matte too.
I hadn't checked out NowFashion's photos of the show. What a contrast!

Yes, it does look like the shades were alternated... although it could be the way in which the products were layered/blended/applied. (Supposedly, NARS Kenya lip pencil and Mambo eyeliner were used, and whatever other product that wasn't mentioned).


More shots from the runway (sorry, not NowFashion's):


Source: style.com
 
Marc by Marc Jacobs
Makeup: Dick Page
Hair: Guido Palau






[style.com's] Senior Beauty Editor Celia Ellenberg's take:
Arriving backstage at Marc by Marc Jacobs was a slightly jarring experience, for two reasons: first and foremost, it's a rare occasion to see Jacobs and his glam squad of Shiseido artistic director of makeup, Dick Page, and Redken creative consultant Guido Palau at the tents. Also throwing us off was the deliberate, albeit uncharacteristic, tinge of glamour behind the hair-and-makeup look. "It's a bit more prim," Page said of the designer's Fall collection, which prompted him to slick on an impossibly glossy, "spunky" red lip for the occasion.

"I'm using an OCD lip technique," he joked of a nonstop layering effort by which he blended Shiseido's forthcoming shades of its Lacquer Rouge in Sanguine, a deep red, and Drama, a rosy crimson, keeping the skin "quite real" with minimal coverage foundation. Eyes were given a neutral slick of Shiseido's Shimmering Cream Eye Color in Sable, a warm brown, which Page defined with the same product in Caviar, a rich black, on the outer third of the upper lash line. As a finishing touch, he blended the colors together with Shiseido's Benefiance Full Correction Lip Treatment for a greasy finish.

"It's a take on the forties meets seventies," Guido Palau offered of the beauty look, which included side-parted pin curls that had been prepped with Redken Guts 10 Volume Spray Foam, put through a barrel curling iron, brushed out, and teased before models hit the runway, so the style wasn't "too lady" and a little more "disheveled." Slipping a bobby pin into the front of the hairline to create "a kiss" over the eyes, Palau spritzed a halo of Redken Fashion Work 12 Versatile Working Spray over the entire head for hold.
Source: style.com
 
Theyskens’ Theory
Makeup: James Kaliardos
Hair: Odile Gilbert
Nails: Jin Soon Choi





February 12, 2013
Galactic Beauty Backstage at Theyskens' Theory
By Belisa Silva

“We’re doing a girl of the future, which is something interesting to think about,” said James Kaliardos, for MAC. “Olivier imagined a girl that would go to sleep and have intravenous vitamins pumped into her system all night long so [she’d] wake up feeling really gorgeous and have all the nutrients they need. All the vitamins and minerals we are lacking. A lot of it has to do with skin care because when you are really healthy, your skin is just perfect.”

To achieve the look, Kaliardos used MAC Prep + Prime products, including the Skin Brightening Serum, the Beauty Balm and the Skin Smoother. “It’s like a magic cream that makes you look diffused and out of focus,” said Kaliardos of the Smoother, adding, “The Beauty Balm is a combo product that goes from an antibacterial cream to help with pimples to moisturizer to foundation and it just makes skin look really smooth and transparent, which is the look we’re going for.”

Kaliardos then applied MAC Shaping Powder Pro Palette in Accentuate on the cheekbone for a little bit of glow “without any pearlization” and layered it with Coffee Walnut to “cut the cheekbones so you look like you’re in a George Hurrell photograph from the Forties. “She’s like a woman from Hamburg,” he said. “It’s about giving shadow and contouring and cutting, but not in an orange-y Kim Kardashian way, in a more abstract, play-on-light kind of way.” Next, Kaliardos used Au Natural, a peachy beige hue, on lips and brushed brows with MAC Brow Set, leaving lashes without mascara. “The whole thing is about health,” he said. “It’s how can you do makeup without a smoky eye or a lipstick color. It’s how do you have a face which is lifted and sculpted and built the way the clothes are built and designed. Where you don’t feel like you have a lot of color going on. It’s using makeup in a noncolored way.” Kaliardos added of the completed look, “It’s brave I think for a woman to not wear mascara or makeup like that.”

Hair, styled by Odile Gilbert for Kérastase, was meant to be at once futuristic and realistic. Gilbert said Theyskens gave her three words as inspiration for the hairstyle: “‘Human, alien, touchable.’ [Olivier] always has a very nice imagination. For me, he’s like a poet in the way he works,” she said. Gilbert began by creating middle parts and adding ample amounts of Ciment Thermique, Fiber Architect and lots of Doubleforce Hairspray. “We want the hair to be shiny and healthy,” she said. “[It’s] very sleek, very straight.”

Next, Gilbert separated hair and secured it in the back with an elastic “to create a headband that’s done with the hair of the model,” she said. “And in the back you have hair very straight like a veil.” Of the hair’s texture, she said, “It had to be something very pure and touchable because who doesn’t want to touch silk,” she said. “It’s hair like silk.” What is Gilbert’s secret weapon to survive fashion week? “Good product, a bit of brain and hands,” she said simply.

Nails, done by Jin Soon Choi, were “clean, chic and nude.” Choi applied one coat of her Tulle Tulle nail polish, then two layers of Top Gloss topcoat for “high gloss,” said Choi. “We are trying to do very sheer and super glossy.”
Source: fashionising.com and wwd.com
 
Hervé Léger by Max Azria
Makeup: Val Garland
Hair: Laurent Philippon




February 10, 2013
California Cool Backstage at Hervé Léger by Max Azria
By Belisa Silva

Val Garland, for Sephora Pro, set out to capture the drama of nature with a glowing bronze face, nude eye and nude lip. “The look is very much Californian girls,” said Garland, who used three products and three brushes to get a sculptural bronze look. “Think caramel tans, gorgeous glowing bronzed skin. We are working with highlighters, bronzers a beautiful foundation from Stila.” To that end, faces featured Stila Convertible Color in Carmellia, Stila’s All Day Foundation & Concealer, as well as Laura Mercier’s Secret Camouflage. To impart the illusion of glistening skin, Garland used Benefit Watt’s Up and Hourglass Illume Creme-to-Powder Bronzer. “We’re brushing the bronzer into the eye and up into the temples so we get that sun-kissed look,” said Garland, who used a contour brush to “sculpt” the face. “We’re using bronzerlike contour so it’s a lot more sculptural, it’s a lot more three dimensional. In the past what we normally do is we take bronzer [and apply it to specific parts of the face]. All of a sudden you’ve got an orange face,” said Garland. “Here, everything feels a lot more structured, so you’ve created a better bone structure.” Lips were lined in Sephora Rouge Shine Lipstick in No. 01 Honeymoon and lip balm, to combat dryness from the frigid New York temperatures. Eyes were left bare, with only some bronzer, brows were brushed and lashes curled. Tarte EmphasEYES Inner Rim Brightening was used for highlight. Looking to fall, Garland said, “I’m always excited by eyeliner. I think we will be seeing a little bit of eyeliner along the way. I’m always excited about an eye. I think eyes are going to be a big trend this season. Going on from summer when we had a lot of aquatic colors — the blues, the aquas, the greens — I think this time around we’re going to be seeing more plums and earthy tones and colors that are slightly a bit off and also colors that are quite rich as well — the navys, the midnights. I think it’s going to be an exciting time for color.”

Hair, styled by Laurent Philippon for Bumble and bumble, was easy but beautiful.

“The inspiration was a really cool Los Angeles biker who happens to have the most amazing hair,” said Philippon, who used the brand’s upcoming volume-imparting Thickening Full Foam Mousse on wet hair. He then used a blow dryer and hands and brushed it section by section before curling. “We are not using the curling iron in a traditional way. We are caressing the hair with the curling iron to get a very, very soft natural wave. What I like about the iron is that you get that quality of the hair, the shine, healthy looking hair and with the mousse you get that satin finish.” Once the curls were created, Philippon brushed back hair, using his hands to “get the texture back,” he said, adding that the models would be wearing caps. “In the end it is a natural look. It’s the kind of hair that everybody would dream to have; a slight wave and really healthy looking.” About the texture, he said, “it’s very soft, it separates but its also windswept. It’s pieces flying.” Philippon said he used hair powder on a few girls, all of whom were given a center part. When asked about trends for spring and fall 2013, he said,”In spring I always like to do a ‘springy’ hairstyle, which means soft and romantic. It could be softly braided. Maybe a piece of jewelry in there, or maybe a comb It’s totally the kind of hair you can do at home.”

Nails, done by OPI, were rounded into a natural “squoval” shape and given two coats of almost-black aubergine shade, Lincoln Park After Dark. For an ultrahigh-shine effect, OPI’s DS Designer Series Top Coat was used.
Source: wwd.com
 
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Derek Lam
Makeup: Tom Pecheux
Hair: Orlando Pita





[style.com's] Senior Beauty Editor Celia Ellenberg's take:
"The buzzwords were bohemian, minimalism, structural architecture," Orlando Pita said backstage at Derek Lam, rattling off a list of inspirational terms the designer had provided him with as a beauty directive for Fall. To Pita, that immediately meant texture. "We're braiding hair and setting a wave," he explained, adding extensions to ensure a uniform thickness at the bottom while prepping three-inch-wide sections with Phyto Workable Holding Spray before weaving them into plaits and pressing them with T3's SinglePass Flat Iron. Nodding to the freewheeling feeling of the late seventies, Pita center-parted strands to "make the face more symmetrical" and ran his fingers through the crimped plackets. Then, taking two pins, he secured front sections behind models' ears to give the shape a sense of uniformity.

Estée Lauder global Creative Makeup Director Tom Pecheux was speaking to Lam's aptitude for giving incredibly rich fabrics a sense of casual comfort, which he also related to a bohemian sensibility—one that is rooted specifically in California. "You know when you ask people on the West Coast why they live on the West Coast and they say 'quality of life'? It's that kind of feeling," he explained of the "very minimal" makeup that still managed to have a few complex twists and turns.

Following a massage with Estée Lauder Idealist Even Skintone Illuminator and its DayWear Advanced Multi-Protection Anti-Oxidant Creme, Pecheux created a base with Lauder's Double Wear Light Stay-in-Place Makeup. "There's no brow, no mascara, no contours, no highlighting," he was quick to point out, turning his attention instead to a "stripe of eye shadow" in varying shades of lavender, rose, silver, and gray from Estée Lauder's forthcoming Pure Color Instant Intense EyeShadow Trios in Smoked Chrome, Steel Lilacs, and Sterling Plums, concentrating the sheer, shimmering pigment in the center of lids to catch the light on the runway. Lips were slicked with a blend of Lauder's as-yet-unreleased Pure Color Vivid Shine Lipstick in Burnished Bronze, a sheer caramel, and its Pure Color High Intensity Lip Lacquer in Electric Wine, a deep garnet, before Pecheux pressed them with his fingertips to create a stain. As a finishing touch, he took another finger-dab of its Pure Color Stay-On Shadow Paint in Sinister, a dark black, which he patted onto the middle of mouths to simulate "voluptuousness."
Source: style.com
 
Alexander Wang
Makeup: Diane Kendal
Hair: Guido Palau




“Futuristic” Two-Tone Hair And “Hooded” Gray Lids Backstage, At Alexander Wang
February 10, 2013

Fall 2013 marks a season of firsts for Alexander Wang. In addition to showing his debut collection for the house of Balenciaga in Paris next month, he also moved his namesake show to a brand-new financial district venue in New York. It may be a new year, but backstage, it was pretty much the same Wang. “It’s still his girl,” Diane Kendal contended. “There’s no real color in the face.” In its place was NARS Single Eyeshadow in Lhasa, a steely gray, that Kendal dragged through the crease of the lid, using its forthcoming greasy Eye Paint in Transversal, a dark slate, to beef up brows and diffuse the shadow into a soft wash for a “hooded effect.”

While a dearth of catwalking superstar surprises generated a bit of backstage buzz among a crowd used to seeing the likes of Gisele Buündchen, Shalom Harlow, Carmen Kass, and Liberty Ross take to Wang’s runway, the Ukrainian stunner who opened his show last season still appeared to be very much on his mind. “It’s based on Irina’s hair color,” Guido Palau said of Irina Kravchenko’s henna-treated “cognac” strands that he implemented on every girl with a custom-dyed ponytail extension, courtesy of the Whittemore House’s Larry Raspanti. “Alex really wanted a pop of color,” Palau explained as he pulled lengths into a sleek updo, coating the top section of hair with Redken Hardwear 16 Super Strong Sculpting Hair Gel as he went. “It’s quite futuristic,” he continued of the two-tone style, which served to unify the models into a roving tribe of Irinas. “The fakeness of it clones them a bit,” Palau added of the color’s effect. Then, right before models hit the runway, he coated razor-cut ends with Redken’s forthcoming Diamond Oil Shatterproof Shine Intense for a multidimensional glossiness, which was evident even underneath the medieval-hoods-come-hats that models like Julia Nobis, Jamie Bochert, and Juliana Schurig wore down the runway.

Source: style.com
 
Oscar de la Renta
Makeup: Gucci Westman
Hair: Orlando Pita




February 13, 2013
Eyes, Lips and Skin at
Oscar de la Renta
By Jayme Cyk

Four different makeup and hair looks took the runway at Oscar de la Renta.

Gucci Westman for Revlon created each look to reveal a standout element. Look One was about dark eyes in order to give off a gypsy appearance. Westman used the Midnight Express palette and mixed it with PhotoReady Primer and Shadow in Muse. Then she applied Super Lustrous Lip Gloss in Shine City to give the lids a glossy effect. Completing the theme, she used Luxurious Color Eyeliner in Black Velvet and PhotoReady 3D Volume Mascara.

The bright lip was the key ingredient in the second look. “We’re overdrawing the shape a little bit,” said Westman. To spotlight the lip, Westman used ColorStay Ultimate Suede Lipstick in It Girl, mixing it with Front Row. Skin was left creamy, with Baby Sticks for Lip and Cheeks in Pink Passion.

A bold lip was next in the lineup. “This look is Kate Moss,” explained Westman. “It’s all about the sexy mouth.” Depending on the model’s skin tone, one out of four shades of red was used. Nearly Naked Makeup was applied to the skin, while the eyes were kept fairly neutral with Illuminance Crème Shadow in Not Just Nudes and Grow Luscious Lash Liner in Onyx and Espresso.

The last look was all about a nude shine. “The face is really pure,” said Westman. “There’s no highlight, just a nude eyeliner on the tear line.” First, Westman applied Nearly Naked Makeup to the skin. Then she used Illuminance Crème Shadow in Not Just Nudes and Grow Luscious Lash Liner in Espresso. To finish, she completed the lips with ColorStay Lipliner in Natural.

Orlando Pita paired the four makeup looks with four hairstyles.

To complement the gypsy eyes, Pita parted the hair on the side and slicked the top of head. He tucked the hair behind the ears for a Forties vibe.

For the bright lip, Pita pulled the hair back into a low ponytail and placed it at the nape of the neck. Then, he teased out a few strands and placed those over the ears.

To coordinate with the bold lip, the hair was swept to one side and crafted into a low chignon. To hold the hair in place, a Swarovski hairpiece was pinned at the back and another was placed on the side.

The last look was a loose wave. Texture was created throughout the hair and deconstructed as if the girl had slept on it.

Inspired by the collection, the designer created a limited-edition set of shades to match. Half the girls wore Asphalt, a charcoal gray with a hint of shimmer, and the other half donned Dare, an island-inspired teal.
Source: wwd.com
 
Narciso Rodriguez
Makeup: Dick Page
Hair:
Paul Hanlon




“Untouched” Makeup And Easy Hair, Backstage At Narciso Rodriguez
February 13, 2013

Narciso Rodriguez may increasingly be experimenting with color in his collections, but the complementary hair and makeup looks at his shows seem to be getting more and more stripped down in the process. Citing the success of Spring’s fresh, transparent face, Shiseido artistic director Dick Page confirmed that Rodriguez was keen on a repeat appearance. “I went to look at the clothes, and Narciso said, ‘I really loved how the girls looked last season. Can we do that again?’ I said sure. If it ain’t broke, don’t fix it.”

“It’s almost untouched,” Page elaborated of the nearly nude faces. “For a lot of women, it’s not enough,” he joked of the light-handed approach for which he swiped lids with the brown shadow from Shiseido’s limited-edition Eye Color Bar, while giving brows a “sketch of color” and definition with its Eyebrow Styling Compact. As he dabbed lips with its forthcoming Perfect Rouge lipstick in Harmony, a dark crimson, he asked, “So if you didn’t see that happen, you wouldn’t think she was wearing lipstick, right?” In fact, every model looked as though she was sporting a slightly tinted balm rather than full-on color. Sticking to the theme of simplicity, cheeks got a customized dusting of Shiseido’s Luminizing Satin Face Color while nails were kept short, round, and varnished with two coats of Deborah Lippmann’s ultra-sheer nude polish in Naked.

Paul Hanlon also picked up where he left off for Fall, bringing a certain ease to the hair as Rodriguez’s newly installed lead hairstylist. Creating imperfect center parts, Hanlon gave models smoothing blow-outs before applying a mist of hair spray to help slick strands behind the ears. Lengths were given a slight bend to create movement, but the key was to not do too much, thus letting Rodriguez’s traditionally understated clothes make the statement.
—Aja Mangum
Source: style.com
 
Chado Ralph Rucci
Makeup: Tom Pecheux
Hair: Laurent Philippon




February 12, 2013
Architectural Beauty at Chado Ralph Rucci
By Belisa Silva

Beauty was graphic and strong backstage at Chado Ralph Rucci.

The dramatic, aerodynamic updo, created by Laurent Philippon, for Bumble and bumble, was meant to resemble “architecture” and “sculpture.” To create the style, Philippon began by blowing out hair with a “ponytail blow dry.” He then sectioned hair into two parts, divided horizontally, back-combed and sprayed heavily with Bumble and bumble Does It All. The bottom was then secured with a bungee and the ponytail was braided about two inches. Pins then secured the braids into a horizontal crown shape, which became the base, or “bridge” of the look. Next, the top section of hair was braided and tucked under itself. To keep things in place and to get an “entirely wet” effect, Philippon used generous amounts of Bumble’s Spray de Mode.

Faces, created by Tom Pecheux for MAC, were meant to match hair’s drama. “The whole look is all about being very architectural,” Pecheux said. “Ralph Rucci is known to be an amazing couture designer and his pieces, especially in the winter time, are very graphic and that’s what we wanted to bring.”

At the focus of the look was a strong eye, which featured an extended “powerful black line,” created with MAC Blacktrack Gel Eyeliner. “It’s a strong girl, not an all old antique look. It’s very couture.” To create the exaggerated lined look, Pecheux began by framing eyes on the top and bottom, then extending the lines for drama. “It’s a lot of work but its just those perfect lines, we are extending it quite a lot because also I think it’s dynamic so people sitting in the audience will see the incredible eye and chignon.” Each girl was given false lashes, eyebrows were kept natural and skin was given a matte satin finish. Cheeks featured “a bit of contour and a bit of highlight” and lips were left “natural. We wanted a cool girl not too lady like,” he said.

When asked about personal beauty techniques, Pecheux revealed that he likes to massage models’ faces before applying makeup. “I always try to give love to the girl. It’s good treatment, they relax,” he said. “The type of life they have, running around, so we try to give them a bit of love.”

Looking forward to fall, he said, “I think what is going to be interesting are the contrasts. Contrasts of texture, contrasts of color; like nude and black, matte and metallic, satins. I think [contrasts] are going to give the richness of the winter.”

Nails were kept “simple but expensive looking,” featuring either a soft pink or soft tan shade by Essie. Hands featured either Mademoiselle, a light pink color, or Sand Tropez, a natural sand hue, to keep nails “neutral.”
Source: wwd.com
 
Calvin Klein Collection
Makeup: Pat McGrath





Source: style.com and wwd.com
 
Thom Browne
Makeup: Sil Bruinsma
Hair: Jimmy Paul





February 12, 2013
Wicked Meets Whimsy Backstage at Thom Browne
By Belisa Silva

Sil Bruinsma for MAC was inspired by Marie Antoinette for the theatrical look backstage at Thom Browne. The look, which also alluded to the Queen of Hearts, featured alabaster faces, created by mixing white Face and Body Foundation and Studio Fix Fluid to “white out the skin” with Porcelain Set Powder and Studio Fix Pastel in Shivering White, which were pressed into the skin to mattify it. Apples of the cheeks featured the bright crimson matte Powder Blush in Frankly Scarlet, which was applied in circular strokes. Lips were given a “centered petal shape,” created with MAC Lipstick in Ruby Woo, which was brushed onto the lips with the tapered-for-precision 316 Lip Brush. Pigment in Basic Red was dusted over the lips to keep the shade intense.

Finally, for a touch of illumination, Bruinsma used Prep + Prime Highlighter in Radiant Rose on the eyelid.

Hair had an equally French, fairy-tale flair. Oversize bouffants, styled by Jimmy Paul for Bumble and bumble, were meant to resemble “a bird’s nest.” To that end, updos were decorated with embellishments of flora and fauna, from whimsical rose details to brambly wooden crowns. To create the style, Paul first brushed hair straight, layering on Thickening Hairspray, Hair Powder and Does It All Styling Spray to infuse it with texture.

He then “rough blow-dried” and teased hair in sections to continue building volume. Next, Paul created a double French twist at the bottom section of hair by taking in the sides and leaving the top section free, which was made as “big and as solid as possible.” To “secure the shape,” Paul used a large mesh hair donut.
Nails, which resembled sharpened crimson talons, were created by Julie Kandalec for Maybelline Color Show. Kandalec used bright true-red shade, Keep Up the Flame, and affixed pointed tips to complete the “wicked fairy tale” beauty look.

Source: wwd.com
 
Ralph Lauren
Makeup: Tom Pecheux
Hair: Guido Palau






February 14, 2013
Backstage at Ralph Lauren
By Julie Naughton

Ralph Lauren’s classic all-American beauty look was front and center at his runway show.

“There’s an ease to it,” said Guido Palau, working with Redken at the show. “It’s American luxury.” Palau kept things simple with a ponytail, as many of the numbers called for hats. After working Redken’s Satinwear through the hair with his fingers, he used his fingers and a blow-dryer to create a tousled look, then gathered hair into a ponytail, wrapping a small section of hair over the elastic band. He left a few pieces loose for movement as the models walked.

Tom Pecheux also opted for minimalism with the makeup. “We tried a heavy eye, but it didn’t work with the clothes, which have an opulent Russia-meets-Les Misérables feeling,” said Pecheux. First he prepped skin with concealer and a minimal amount of foundation. After adding a bit of peach blush low on the cheek — “I don’t want it to look too girly” — he turned his attention to the eyes, using MAC Haute and Naughty black mascara. After lightly emphasizing the brows with pencil or shadow, depending on the model, he turned his attention to the lips. Models with a naturally rosy lip color got an application of Estée Lauder lipstick in Beige, while those with paler lips got an application of MAC’s Runway Hit lipstick with the Estée Lauder Beige on top of it.
Source: style.com and wwd.com
 
Anna Sui
Makeup: Pat McGrath
Hair: Garren





February 14, 2013
A Sixties Beauty at Anna Sui
By Jayme Cyk

New Wave French films from the Sixties set the scene at Anna Sui.

“The main inspiration is a strong face,” said Pat McGrath for Cover Girl. Creating a Sixties cat eye, she applied a black pencil along the eyelid. She exaggerated the graphic shape by increasing the width and leaving the tip about a half-inch from the brow. On the bottom lash line, she again used a black pencil to generate a dotted line. “Looking at the colors in the collection, they were very rich,” said McGrath. “Anna wanted a monochromatic face.” To top off the lip, McGrath applied a blush-colored gloss.

“We found a picture of Catherine Deneuve from the Sixties,” said Garren of Garren New York Salon. “She used to pull her hair up into a ponytail, then she would tease it and then she would flip it. So we said how do we want to do this differently?” Pulling the hair back into a ponytail and rolling it under into a big bouffant was Garren’s interpretation of Deneuve’s look. “It looks fresh and young,” said Garren, “and it gives it that Sixties vibe.” The girls with shorter hair were given full frontal bangs and hair was teased at the crown.
To finish, nails were completed with a golden glitter shade from Anna Sui’s cosmetic line.
Source: style.com and wwd.com
 
Rodarte
Makeup: James Kaliardos
Hair: Odile Gilbert





“Rocker Princesses” Unite, Backstage At Rodarte
February 12, 2013

Wearing makeup to the beach is a questionable move, although if you grew up in a NorCal surf town, like Rodarte’s Laura and Kate Mulleavy, it was probably also hard to avoid. “It’s the idea of mascara that has been applied on the beach,” James Kaliardos said of the makeup look he created for the sister duo’s Fall Santa Cruz-themed collection. “It’s a bit messy,” he continued, “as if it fell onto [models'] faces.”

Dusting lids with NARS Single Eye Shadow in Bengali, a matte dark brown shade that Kaliardos swept underneath the lower lash line as well, he worked its forthcoming Eye Paint in Mesopotamia, a similar shade, through the crease to provide a little slip. Then, taking NARS’ as-yet-unreleased Larger Than Life Long-Wear Eyeliner in Via De’Martelli, a dark chocolate, he dotted on a chunky, “speckled” bit of pigment for a haphazard effect. NARS Larger Than Life Volumizing Mascara added additional dimension to lashes while its Velvet Matte Lip Pencil in Belle de Jour gave pouts a subdued nude finish.

Odile Gilbert was going for a “rocker princess” look, which she achieved by building a “cool, undone” texture into models’ manes. Prepping hair with John Frieda Frizz-Ease Curl Reviver Styling Mousse, Gilbert took strands through a two-inch curling iron to create a loose bend. Brushing out the waves for a more natural appearance, she created interwoven plaits on either side of the head, which were joined together in a rosette that segued into a single braid in the back. Using Frizz-Ease Hair Serum Thermal Protection Formula on the ends to create piecey separation, Gilbert crowned select models with barbed-wire headbands, including Nadja Bender, Irina Kravchenko, Kate King, and Tilda Lindstam.
rodarte-sally-hansen.jpg

Rodarte X Sally Hansen
February 12, 2013

The designer-beauty collaboration is certainly nothing new, but it has remained unmined by Rodarte’s Laura and Kate Mulleavy. Sure, there was that ill-fated MAC collection inspired by Juarez, Mexico, three years ago, but that’s ancient history now. Onwards and upwards to a nail partnership, as they say. For the first time ever, the design duo has teamed up with Sally Hansen to create three exclusive polish shades to complement their Santa Cruz-inspired Fall collection. But rather than revisit their eighties-era youth via outlandish varnish hues, the Mulleavys devised a relatively subdued palette for the season, including the creamy neutral Stocking Nude, which Sally Hansen nail ambassador and celebrity manicurist Tracylee topped with metallic French manicure tips in Gold Roses, a rose gold, and Platinum Star, a silver. You may need a certain constitution to pull off one of those tie-dyed bodysuits, but the lacquers should have more mass appeal when they launch later this year.
Source: style.com
 
Proenza Schouler
Makeup: Diane Kendal
Hair: Paul Hanlon




“A Bit of a More Feminine Approach,” Backstage At Proenza Schouler
February 14, 2013

The Proenza Schouler woman has such a signature low-key beauty look that we often wonder if Jack McCollough and Lazaro Hernandez even have to instruct hairstylist Paul Hanlon and makeup artist Diane Kendal what to do at this point. Following a few twists and turns at the preshow test for Fall, however, it turns out there was, in fact, a specific directive: “They asked me to do the hair I did for them two seasons ago,” Hanlon revealed backstage.

For those of you who need a refresher course, that was the season Hanlon coined the term “skinny hair,” for which he washed every girl’s locks on site, to start with the most natural texture possible, before removing excess volume and weighing strands down with product. “They’re architectural couture clothes for Fall, but there’s a reality to them, so we don’t want the hair to look too groomed,” he explained, coating strands with Frédéric Fekkai Coiff Perfecteur Anti-Frizz Silkening Crème to create a “lank” effect before applying its Defense Pre-Style Thermal/UV Protectant to add moisture. Then, fashioning side parts that he tucked behind models’ ears, Hanlon applied a liberal amount of its COIFF Oceanique Tousled Wave Spray to add a “roughness, like if the girls had been wearing a beanie.”

Kendal wasn’t so much told to re-create her work from past shows, but she’s become so adept at channeling the design duo’s downtown cool aesthetic that it’s almost second nature at this point. “This season is a riff on classicism, so it’s a bit of a more feminine approach for them,” Kendal pointed out, “but they still wanted their girls to be their girls.” Cue the perfected complexions with MAC’s Studio Fix Powder for a velvety base, the boyish brows that were brushed up with its Clear Brow Finisher Wax, and a fine stroke of black cream shadow drawn against the upper lash line in lieu of mascara. There was one new development here, in the form of MAC’s Red Statement Lipstick from its forthcoming Fall Trend palette, which Kendal applied to cheeks as a transparent blush. “But it’s very sheer, so you can’t really see it,” she assured us.

Source: style.com
 
Naeem Khan
Makeup: James Boehmer
Hair: Rolando Beauchamp





February 14, 2013
The 1920's Lady at Naeem Khan
By Olivia Landau

“The inspiration for today is a strong lady in the 1920s,” said James Boehmer, director of global artistry for Nars. “Similar to Lady Mary from Downton Abbey.” The eyebrows were the focus of Tuesday’s look. Using Brow Perfector Pencil, Eyeshadow in Coconut Grove and Brow Gel, Boehmer created a thick, defined brow. To showcase the eyes, he smudged Duo Eyeshadow in Pandora on the bottom. Next, Boehmer used Duo Eyeshadow in Alhambra to highlight the corner of the eyes and center of the lips. To finish, he topped off the cheeks with a bit of Blush in Zen, and applied Larger Than Life Volumizing Mascara to the lashes.

“The look is centered around finger waves,” said Rolando Beauchamp, head stylist for Bumble and bumble. To achieve the 1920s-inspired style, Beauchamp used Bb Prep and a healthy amount of Bb Gel for a sleek finish. He completed it by deeply parting hair to the side and created finger waves around the face. The hair was then tied into a low ponytail, braided and secured into a bun.

“Today we went for a vampy red nail that we are calling ‘Devil’s Red,’” said Michelle Saunders, for Essie. To achieve the custom color, Saunders started with a coat of Licorice and then layered the nail with a coat of Bardot. “The color really complements the entire collection’s 1920’s embellished feeling,” said Saunders.
Source: wwd.com
 

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