Runway Makeup F/W 13.14

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Michael Kors
Makeup: Dick Page
Hair: Orlando Pita

“Block” Eyes And Sleek Severity, Backstage At Michael Kors
February 13, 2013

We’ve become accustomed to seeing Michael Kors’ woman with a sun-kissed glow from her time spent skiing or on safari, so when we spied a graphic black cat-eye backstage for Fall, makeup artist Dick Page immediately had our attention. “I met with Michael and Paul Cavaco, who styled the show, and amongst other things was the idea of an uptown girl heading downtown to party, or the club kid going up to Mr. Chow’s for dinner”—a good old-fashioned dose of culture-clashing, if you will.

After perusing a selection of reference pictures, the Shiseido artistic director decided to focus on an eye, but not just any eye. “I played for a while and ended up with this block shape, which we thought was just more interesting than smoky, winged, etc.” Using Shiseido Shimmering Cream Eye Color in Caviar to build the shape from the center of the lid outward, Page diffused the pigment with the powdery onyx and shimmering pink shadows from its forthcoming Eye Color Bar, creating a sheered-out rectangle. Adding a highlight to the inner corner of the eye and the brow bone with its Shimmering Cream Eye Color in Pale Shell, a champagne, Page placed a luminescent glow beneath the lower lash line on the high point of the cheekbones for contrast. Beefing up the outer third of the upper lash line with a liquid black liner, Page swiped on a few coats of mascara before toning down lips by sponging on a mixture of Shiseido’s Benefiance Lip Balm mixed with foundation.

Complementing the urban-chic makeup were Orlando Pita’s sleek, high ponytails—which every girl, Karlie Kloss included, received. Designers have taken something of a “come as you are” approach to the bevy of catwalkers who cut their hair short last season, but not Michael Kors. If you enlisted in his runway army, you did so knowing that you were fighting for uniformity.

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Source: style.com

 

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Marc Jacobs
Makeup: François Nars
Hair: Guido Palau

Marianne Faithfull Meets Joan Jett, Backstage At Marc Jacobs
February 15, 2013

Upon arriving backstage at Marc Jacobs, editors were herded into a small white room turned molten orange with a smaller version of the Olafur Eliasson-inspired “sun” that Jacobs used in his show. The point: to illustrate how the makeup that François Nars designed for the occasion worked in the sepia tone and the regular light when the effect was turned off. “We needed something that would look good in both,” he confirmed of the purposefully black-and-white design.

“We looked at a lot of reference pictures of Marianne Faithfull and Joan Jett,” Nars said, speaking to the “underground, rock ’n’ roll” quality of the heavily rimmed eyes that he lined with his Eyeliner Pencil in Black Moon before topping that with the forthcoming Eye Paint in Black Valley and his Eyeshadows in Pandora and Bengali. The inner rims were traced with a pure white pigment to create a wider appearance, while lashes were treated to multiple strokes of his Larger Than Life Volumizing Mascara. “This is the way Marc likes his models,” the makeup artist continued, working on a perfectly matte complexion using NARS Radiant Cream Compact Foundation. “I didn’t want any shine,” he explained, as not to pick up a streaky pallor from the light—except on lids, which got a slick of his Triple X Lip Gloss before models hit the catwalk. Arches were groomed and filled in with Nars’ Brow Perfector in Kalamata, a dark brown, so they were still a visible force beneath models’ uniform fringe. “We’re making them all brunettes,” he joked.

Although it was Guido Palau, in reality, who was turning every model a shade of chestnut in varying degrees of darkness. Palau was a bit less forthcoming with his reference points, calling out “cool girls” in the nineties, an old Kim Pierce Vogue Italia shoot, and the model Edie Campbell, whose hair he cut short for an editorial back in November. But to be fair, the Redken creative consultant was swamped. While all fifty-five wigs were cut before the show, Palau hand-shaped each one with a razor, on every single model, to tailor it to their head and face shape. To get the “raw, real” texture he was after, he prepped the hairpieces with Redken Guts 10 Volume Spray Foam to create a “choppy, spiky” effect before adding a few concentrated spritzes of its Shine Flash 02 Glistening Mist for a wet-looking finish. “[I wanted it to have] a sweaty feel,” he said, placing a wide black band on top of freshly trimmed bangs. The models, who had assembled backstage at the Armory a cool six hours before showtime, seemed to dig it. “I’m thinking maybe a mullet next,” hair chameleon, and Jacobs’ muse, Ruby Jean Wilson exclaimed.

Source: style.com

 

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Moschino Cheap & Chic
Makeup: Hannah Murray
Hair: Sam McKnight

February 16, 2013
‘Punk Couture’ at Moschino Cheap & Chic
By Stephanie Hirschmiller

LONDON — For MAC makeup artist Hannah Murray, the Moschino Cheap & Chic makeup was all about punk. “The girl this season has more attitude than last season; she's tough she's cool, she's punky, so we wanted bold black PVC accents,” she explained.

One look was built on fresh, luminous skin and a chalky pink cheek tying in with the colors of the collection. Eyes were bare. A black lip was created using Kohl Power pencil in Feline and Black Lipmix.

The second look was the reverse with the drama played out in the eyes, which were rounded into an almond shape with a clean line. “I used the Graphblack Pencil to sketch the shape and went over it with Fluidline gel liner in Blacktrack,” Murray explained. She added Lip Glass clear gloss on both eyes and lips.

Hair was in a similar vein. “The reference was punk couture so there's an element of punk albeit a really young youthful version; it's inspired by rock 'n' roll punk mixed with haute couture,” said Sam McKnight.

He wanted the girls to look as if they had done their hair themselves and used black elastics and pins to secure messy knots he created with two layers of Pantene mousse — rough dried to create volume. He finished the look with some soufflé on the ends to take away dryness. Most of the girls had dark hair, but he ran a baby pink shade through the tresses of the three blondes.

Source: wwd.com
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Eudon Choi





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Source: stylebistro.com

 

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Julien Macdonald
Makeup: Val Garland
Hair: Martin Cullen

February 16, 2013
Grunge Goes Deluxe at Julien Macdonald
By Stephanie Hirschmiller

LONDON — The beauty look at Julien Macdonald was dead specific. “We were feeling a soundtrack of Marilyn Manson and an early Nineties woman epitomized by Stella Tennant - as shot by David Simms for ID Magazine,” said makeup artist Val Garland. In other words, it was all about grunge deluxe created using L'Oréal BB and CC creams for a flawless finish to the skin with contour and highlighting, but no blush.

For the eyes, “We used a waxy crayon in a really intense grey - up close to the lash line - and blended it to the brows which we brushed up for a boyish feel,” Garland said. Lips remained natural with just the hint of a stain.

Martin Cullen's hair had a dirty texture, “like when you've been on a night out, got home at 6 a.m. and your hair's stuck down with sweat,” he laughed. He created the look using L'Oréal's Matt & Messy Salt Spray and Architectural Shine Wax to separate it at the front.

Nail artist Lisa Smith used L'Oréal’s Diamond Lurex for a “nonchalant look that was not too dark and edgy.”

Source: wwd.com

 

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Felder Felder
Makeup: Mel Arter

Backstage Beauty: Felder Felder Autumn/Winter 2013
Posted: 15/02/13 | Updated: 15/02/13
Katie Jones - Assistant Editor, MyDaily

Maxfactor makeup artist Mel Arter summed up Felder Felder's Autumn/Winter beauty look in two words: "elegant street".

Inspired by the 1970s Zephyr boys movement, the makeup was classic but with a sense of rebellion and exclusivity about it. Arter told us, "the look really plays on this through winter blushed cheeks and dewy skin, but with an element of elegance". (Trend alert: winter cheeks were also seen backstage at the London College of Fashion show).

So - how was this done? The flushed, outdoors cheeks were down to a mix of MaxFactor's CC Cream (it launches in April) and a creamy blush in soft pink. As for the statement lip, the Elixir Lip Pencil in Ruby Tuesday and Flipstick in Gipsy Red were layered together to create a matte, toasted finish.

The wind-chapped look was complete with a clear gloss on the eyelids to bring out the natural skin tone.

Source: fashionising.com, vogue.co.uk, mydaily.co.uk

 

[Gábor]

Love the 'Galliano' look!

 

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Jonathan Saunders
Makeup: Lucia Pieroni
Hair: Paul Hanlon

Marilyn Monroe Meets Courtney Love, Backstage At Jonathan Saunders
February 18, 2013

“A pinup who is not quite a pinup” is how makeup artist Lucia Pieroni described Jonathan Saunders’ woman for Fall while backstage at the designer’s show. “She’s a bit grunge, a bit nineties, and there is a touch of the Marilyn Monroe and Courtney Love about her,” Pieroni continued as she conducted mini facial massages on site with Clé de Peau Beauté Gentle Protective Emulsion. Citing the artist Allen Jones, Pieroni started in on “smudgy brown eyes” that she built by rimming waterlines with MAC Eye Pencil in Coffee before blending that out for a “worn-in” feel. Concentrating her mascara wand on the base of the lashes rather than pulling it through to the tips, Pieroni was quick to point out that this was not intended to be a “lashy look.”

Instead, the high-octane glamour came from the hair. In a rare departure from the signature lank “skinny hair,” which left an indelible impression on the New York shows, Paul Hanlon was hard at work on a style that was, dare we say, rather ladylike in its construction. Smoothing and polishing the cuticle, Hanlon fashioned deep side parts before using a medium-barrel curling iron to create a forties-era bend throughout lengths.
—Suzanne Scott

Source: fashionising.com, style.com

 

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Issa London
Makeup: Val Garland
Hair: Malcolm Edwards

February 17, 2013
'Glastonbury' Beauties at Issa
By Stephanie Hirshmiller

LONDON — “The Issa girl has been at Glastonbury for three days,” makeup artist Val Garland said of the sheer natural look of the skin, achieved using only Transformative Lipid Serum from Sunday Riley and Effortless Breathable Tinted Primer. A grey wash over the eyelids finished the face.

Hairstylist Malcolm Edwards' reference was “sexy Bohemian” with the subtle texture in the hair mirroring Daniella Helayel's collection: sexy, undone festival hair.

He used L'Oréal Professional Playball Beach Fizz, a puff of Texture Dust by Tecni Art at the roots and rubbed a pea-sized blob of Liss Smooth in his hands and literally just touched the hair with them. He then sectioned the hair with thick barrel tongs for a light wave that he pulled together at the ends with a tiny bra

Source: fashionising.com, wwd.com

 

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Preen

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Source: vogue.com

 

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Temperley London
Makeup: Val Garland
Hair: Malcolm Edwards

February 17, 2013
Femme Fatales at Temperley London

LONDON — Makeup artist Val Garland interpreted the Hitchcock theme at Temperley with an elongated eye, done with L'Oréal Paris' Superliner Blackbuster and finished with False Lash Flutter Mascara. Brows remained natural with a little filler only where necessary.

Lips came in Rouge Caresse shade 501, Bedroom Beige — outlined with liner number 656. Faces were kept fresh and real, employing BB creams and “lashings of Luminous Magique Highlighter,” Garland noted.

Hairstylist Malcolm Edwards created a femme fatale coif, dividing the models' tresses into two sections - one at the front and one at the back - backcombing the triangular section at the front to create more height. These were tied into two ponytails that he drenched in Techni Art Fix Design, and then wound around each other. Employing Crystal Gloss, he secured them into an elongated bun at the back with a barely visible net.

Source: wwd.com

 

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Giles
Makeup: Lucia Pieroni
Hair: Paul Hanlon

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The Carrie Diaries, Backstage At Giles
February 19, 2013

“The girl this season is more than a little Carrie,” Paul Hanlon revealed backstage at Giles, where the hairstylist was doing his best to conjure “something of the teenage horror genre.” Cue the long, witchy extensions that were also more than a little inspired by show opener, and longtime devotee of long hair, Kristen McMenamy.

Hanlon gave all forty-five models (except, of course, McMenamy) twenty-four-inch extensions, which he misted with water and divided into two impossibly long plaits to set a loose wave. Taking out the braids right before showtime and giving a few girls—Cara Delevingne and Janice Alida among them—oversize beanies, as has been par for the course this season, Hanlon was left with thin, limp, crimped strands. “This is not so much a hairstyle as it is an effect,” he explained.

The macabre feeling was echoed in the makeup, too. “This girl is Goth,” Lucia Pieroni deadpanned, revealing that Tim Burton was a big inspiration for the pale, luminescent complexions she built using copious amounts of MAC Strobe Cream. Hollowing out eyes with MAC Paint Pots in Constructivist, a burnished brown, and Stormy Pink, a pale lavender, Pieroni concentrated the pigment to the inner corner of the lid to create depth before blending it underneath the lower lash liner to give off the appearance of “a sunken shadow.” Leaving lashes bare and taking lips down with a touch of concealer and lip balm, Pieroni was content to dub her handiwork “beautiful Burton.”
—Suzanne Scott

Erdem
Makeup: Hannah Murray
Hair: Luke Hersheson

“A Touch of Wednesday Addams,” Backstage at Erdem
February 19, 2013

The Erdem girl has always been on something of an emotional journey. Two seasons ago, she was looking for love; last season, she had found it and lost it. This season, however, she gave up on the prospect of love altogether—and took a turn toward the dark side instead. “There’s a touch of Wednesday Addams about her,” makeup artist Hannah Murray confirmed backstage of the “spooky” beauty look. “The collection is quite dark, so the girl we’re creating is a little ghostly.”

Crafting “moonlit,” luminescent skin, using NARS Multiple in Luxor for a dramatic highlight, Murray blended its forthcoming Single Eye Shadow in Namibia, a dove-gray matte pigment, from the lash line right up to the brows to give a halo effect around the eyes. But the real focus was a set of magnificently groomed arches, which Murray crafted using NARS’ as-yet-unreleased Brow Perfector. “The brows are really important to this look, but they need to look real and not drawn on,” Murray explained, sketching individual hairs, rather than taking long sweeps with the pencil, to make the line look as natural as possible.

Rather than duplicate Wednesday Addams’ signature center part, hairstylist Luke Hersheson carved out severe side parts and poker-straight polished hair. “The positioning of the parting is critical with this look—it needs to be on the left-hand side and begin two-thirds of the way down the brows,” he pointed out, using L’Oréal Professionnel Tecni Art Pli and Liss Control to give strands a super-glossy mirror-like finish.
—Suzanne Scott

Source: style.com
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Christopher Kane
Makeup: Lucia Pieroni
Hair: Guido Palau



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Individuality—And Guido Palau—Backstage At Christopher Kane
February 19, 2013

When makeup artist Lucia Pieroni asked Christopher Kane for his Fall hair and makeup directive, he replied rather uncharacteristically. “There isn’t one,” the designer reportedly told the face painter. “This isn’t about a big ‘look.’ Rather, it’s about individuality,” Pieroni elaborated backstage. “We’re enhancing each girl, so that when they walk down that catwalk, they just look like better versions of themselves.”

Perfecting the skin with NARSskin Optimal Brightening Concentrate and its Luminous Moisture Cream, Pieroni did promote some uniformity via the flawless base that she created, using different shades of NARS Sheer Glow Foundation dotted with its Radiant Creamy Concealer. Cheeks were contoured with its forthcoming Single Eyeshadow in Yamal, a chocolatey brown, while cheekbones got a pearlescent glow courtesy of its Multiple in Copacabana. Depending on the model, Pieroni then drew a very fine stroke of NARS Larger Than Life Long-Wear Eyeliner in Via dei Martelli close to the upper lash line to create definition.

In an interesting turn of events when it came to models’ manes, Kane brought in the big guns for his first show as part of the PPR family, in the form of Redken creative consultant Guido Palau—who, it should be noted, is typically a scarce sight in London. Prestige aside, Palau kept with the same light-handed approach, having models wash their hair with Redken Clear Moisture Shampoo before they arrived for their early morning call times. Then, dampening strands and rough-drying them with his trusty BaByliss Volare 1 dryer, Palau fashioned deconstructed center parts. “I’m not even using a brush,” he boasted, letting his fingers encourage a natural wave to “bring a touch of ease to the fashion.”
—Suzanne Scott

Burberry Prorsum
Makeup: Wendy Rowe
Hair: Neil Moodie



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Beauty Business As Usual, Backstage At Burberry Prorsum
February 19, 2013

Last season, Christopher Bailey and his trusted face painter, Wendy Rowe, served up a surprise for Burberry Prorsum beauty watchers the world over. After countless shows that featured natural skin and shaded lids, the duo executed a perfectly precise dark crimson lip for Spring. There were no such twists and turns backstage for Fall, although you’d be hard-pressed to find anyone who cared. The casting here is so good that it was a pleasure to just sit back and watch as Cara, Jourdan, Karlie, and the show’s opener and closer, Edie Campbell, moved in and out of the makeup artists’ chairs.

“This season, the Burberry girl is a little bit sixties and a bit mod; she is very cool,” Rowe pointed out, adding a slight variation to the house’s traditional groomed and glossy theme with a layering effort of Burberry Sheer Foundation and its Fresh Glow to give complexions a lit-from-within quality. The golden touches woven throughout the collection inspired a gilded highlight on the inner corners of eyes and on the Cupid’s bow of mouths, courtesy of Burberry Lip Glow in Trench Kiss. “I want the lips to look succulent, like they have just been kissed,” the Burberry artistic consultant explained, slicking on an additional coat of Burberry Lip Mist in Nude Honey. Nails were given this season’s favorite, deep garnet manicure with two coats of Burberry lacquer in Oxblood.

Making a subtle change to the status quo, hairstylist Neil Moodie took last season’s tousled texture and blow-dried it into submission. “I’m going for a smoother finish than what we have done in the past,” he explained, gluing color-matched extensions into models’ manes and using a large round-barreled brush to curl the ends under. In keeping with the slight sixties feel, Moodie applied a pump of Moroccanoil Volumizing Mousse and back-combed strands at the roots, allowing them to settle for ten minutes before brushing them out again. “It’s enough to give the hair a little height at the crown,” he pointed out of the technique.
—Suzanne Scott

Source: style.com

(I will post more photos from these shows later... )

 

[flyme2themoon]

More from Burberry Prorsum (details above

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Source: style.com, fashionising.com

 

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Christopher Kane
(details)






Giles
(details)



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Source: style.com

 

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Simone Rocha

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Source: vogue.com

 

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Meadham Kirchhoff




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Source: vogue.com and fashionising.com

 

[flyme2themoon]

Tom Ford
Makeup: Charlotte Tilbury
Hair: Orlando Pita

February 19, 2013
Backstage at Tom Ford Fall 2013

LONDON — "The reference was Tom's muse Carine Roitfeld, with a boyish handsome brow," said makeup artist Charlotte Tilbury, who used Tom Ford Beauty products.

She said the look was achieved by filling in the natural arch using lots of thin strokes in the direction of the hair growth. Eyelids were painted a chocolate color with a pink undertone, outlined in a coffee shade, and then covered with Eight Hour Cream. Lips were painted in Sable Smoke, Coco Ravish, or Blush Nude according to skin tone.

Nails had been lengthened prior to the show with temporary tips to ensure uniformity, and Liza Smith slicked on two coats of either Toasted Sugar or Milk Brulee, depending on the model’s skin tone.

Hairstylist Orlando Pita created a boyish look, slicked back with a deep side part. Most importantly, he said, the back locks were tucked away so the style resembled a man's cut.

Source: fashionising.com and wwd.com

 

[flyme2themoon]

Giorgio Armani
Makeup: Linda Cantello
Hair: Roberta Bellazzi



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Linda Cantello Does Her “Thing,” Backstage At Giorgio Armani
February 25, 2013

“There’s a lot of lip going around,” Giorgio Armani international makeup artist Linda Cantello said backstage at the designer’s Fall show. She’s certainly not wrong. The crimson and berry pouts that gained momentum in New York and London have really hit their stride in Milan, turning up everywhere from Fendi and Antonio Marras to Prada, Bottega Veneta, and Marni. “The collection is very ‘garçonne,’ so he didn’t want too much makeup,” Cantello explained of Mr. Armani’s boyish tailoring with a slight 1930s air. “But I’ve still got to get my thing in there.”

Cantello’s “thing” included a beautiful play on shaded contouring, as though all that remained on models’ faces were the aftereffects of stronger pigments that were once there. “I wanted a cold color,” she elaborated of the custom lip concoction she whipped up for the occasion—literally; Cantello had a small Pyrex dish filled with a deep pigment she had hand-mixed to achieve the exact right clear, vampy purple hue with a brown base. Blending together a few shades of Armani’s forthcoming Rouge Ecstasy lipstick line, which she turned even more sheer with the addition of some gloss, Cantello pressed the color onto models’ mouths so it subtly stained them a lighter shade of its Nail Lacquer in Night Viper, which varnished tips and will launch as part of the brands full polish line-up come October. “Imagine if they came out with super-dark, Clara Bow lips—it would be awful!” she pointed out of the importance of the transparency. Restraint ruled on lids too, which were sculpted through the crease with elongated swipes of the gray and taupe-y brown shadows from Armani’s Eyes to Kill palettes in #1 and #4. “It’s like character makeup,” Cantello said of the effect, which worked well with the heavy black fringe hairstylist Franco Gobi affixed to sleek topknots and arranged beneath a series of hats, not to mention models’ perfected skin that had been primed with Armani’s standout Maestro Fusion Makeup and mattified with its Luminous Silk Powder in No. 2.

No mascara and well-groomed “statement brows” completed the look, which was, in a way, very similar to what we’ve been seeing in Milan. Reconceived by Cantello, however, it got a whole lot more mileage.

Source: wwd.com, style.com

 

[flyme2themoon]

Jil Sander
Makeup: Pat McGrath
Hair: Guido Palau

Beauty Gone Graphic, Backstage At Jil Sander
February 23, 2013

“Jil Sander is a modern-thinking designer,” Guido Palau pointed out backstage at Sander’s Fall show—just her second womenswear collection since returning to her namesake brand last year. As a result, it’s almost unheard of to find an inspiration board, littered with referential images of icons of yesteryear, backstage at one of the arch-minimalist’s presentations, which often leaves Palau with the more open-ended task of interpreting Sander’s “pure, simple aesthetic” into a corresponding hair look.

This season, he went with a graphic ponytail, adding color-matched extensions to models’ manes to create a uniform length that swept the mid-back. Layering generous amounts of Redken Hardwear 16 Super Strong Gel in panels from the hairline to the nape of the neck, Palau gathered lengths with an elastic that he wrapped with a flattened section of hair. “You don’t want it to dry,” he explained of the technique that ensured strands were saturated to create a sleek, wet texture.

Pat McGrath used the opportunity to play with contours and shadow, keeping skin fresh and beautiful while creating an innovative eye shape in the process. “It’s literally in the socket and pulled out,” the makeup maestro explained of the warm gray cream pigment she brushed across the crease in a crescent shape that came to a soft point and then rejoined the outer corner of the eye. “Every girl is tailored,” McGrath elaborated, explaining that lids were primed if necessary to ensure that the neutral stroke of shadow showed up, although she erred on the side of caution to prevent an overly light, sixties effect. Taking down lips with a touch of concealer, McGrath curled lashes and left them bare while adding strength to the brows to effectively frame the face.

Source: style.com