Runway Makeup S/S 11

[flyme2themoon]

is it just me or dark skin + silver eyeshadow is just the most perfect combination? I'm having trouble trouble finding pictures but in motion, it looked stunning on the dark-skinned models.

Silver eyeshadow, and silver in general, is always astonishing on dark skin.

I love the make-up at Versace, perfectly simple and glowing. Did they use fake lashes? If not, what kind of mascara? (If anyone has more info than the above). Their lashes look amazing.

The eyelashes (on the majority of the models) looked natural to me.

From wwd.com:

CoverGirl’s LashBlast Length Mascara in Black was applied to upper lashes only to create a dark alluring eye.

 

[flyme2themoon]

Marni

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by Catherine Piercy

THE CREDITS:

Makeup, Tom Pecheux for M.A.C.; hair, Paul Hanlon.

THE LOOK: Modern-day Marni girl as madcap Amelia Earhart.

MAKEUP: “There’s makeup that’s just pretty, and then there’s makeup that makes you think,” said Pecheux of the matte skin, electric-orange lips, and arched graphic eyes he created backstage. “At Marni,” he said mischievously, “we like to twist everything.”

HAIR: With their haphazard waves spilling out of designer Consuelo Castiglioni's slim leather aviator caps, models looked like they'd just stepped off a fleet of vintage two-seater aircrafts to take the runway. “It’s kind of a mess really,” laughed Hanlon, who tied random sections into shoelace knots throughout the length of the hair, as if the wind had worked it into a hopelessly pretty tangle.

THE TOOLS:
MAKEUP:
ON SKIN: M.A.C. Sculpt Foundation and Invisible Powder “to take away the shine.”

ON EYES: After covering the lid in a matte white powder (M.A.C. White Chromaline and Gesso Eye Shadow), Pecheux drew a graphic arc of color (using M.A.C. Carbon Eye Shadow) just below the brow bone.

ON LIPS: M.A.C. Orange Lipmix and M.A.C. Frankly Scarlet Eye Shadow (at the corners of the mouth for impact).

HAIR: Hanlon saturated the hair with TIGI Bedhead Superstar Queen For a Day Thickening Spray and Frédéric Fekkai Ocean Waves for an authentically dusty texture; To give hair a slightly sweaty après-sport feel, he sprayed wayward pieces at the face with L’Oréal Elnett hairspray.

Source: vogue.com and wwd.com

 

[flyme2themoon]

Dolce & Gabbana

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by Catherine Piercy

THE CREDITS:
Makeup, Pat McGrath for Dolce & Gabbana The Make Up; hair, Eugene Souleiman for Wella.

THE LOOK:
The designers’ Sicilian sex bomb explores her softer side.

MAKEUP: “The look is very simple, very sensual,” said McGrath, who took her cue from the pristine look of the predominantly white collection. “Beautiful skin, flushed caramel cheeks, and shaded eyes.”

HAIR: “There’s more than one way to skin a cat,” said Souleiman with a laugh of the newly romantic updos he created for the designers. After pinning up the hair, he blasted it with a blow-dryer for a wispy, flyaway feel. “It should look like it’s been done by hand—twisted up at random and stuck with pins instead of anything too perfect.”

THE TOOLS:
MAKEUP:
ON SKIN: “Coverage beyond,” is how McGrath described Dolce & Gabbana’s new Perfect Finish Concealer, which she used to erase dark circles and red spots.

ON CHEEKS: Dolce & Gabbana The Blush in Caramel “on the apples of the cheeks.”

ON EYES: McGrath dipped into an assortment of Dolce & Gabbana’s Smooth Eye Colour Duos (including the company’s shiny metallic compacts in Gold and Fortune) to achieve the perfect hazy sheer-brown shade before smoking it onto the lids. She lined the eyes with a creamy black pencil (Dolce & Gabbana Crayon Intense Eyeliner in Stromboli), then swiped on several coats of mascara (Dolce & Gabbana The Mascara in Black).

ON LIPS: McGrath swirled together red, burgundy, and plum-colored pigments from Dolce & Gabbana’s new Lip Jewels palette (four pitch-perfect lip colors in a faceted, gem-shaped red case; due out in October) and dabbed them onto the lips for a rosy glow.

HAIR: Souleiman brushed through the hair with Wella High Hair Styling Mousse before blowing it dry for added volume and texture.

Source: vogue.com and wwd.com

 

[melfreya]

thank you flyme! I have been waiting for this!

 

[Cado]

Gorgeous make-up ^

 

[flyme2themoon]

Giorgio Armani

by Catherine Piercy

THE CREDITS:

Makeup, Linda Cantello for Giorgio Armani Beauty; hair, Oribe for Oribe Hair Care

THE LOOK: Armani muse meets Saharan voyager.

MAKEUP: “There’s a sort of Berber influence, the feeling of wandering through the desert—but this is an Armani woman so she’s not going to get too dusty,” said Linda Cantello playfully. Translation: matte bronze skin and eyes shaded with blue—just along the lash line and brow bone.

HAIR: Oribe and his team twisted hair into a sleek updo on top of each model’s head before topping it off with a Touareg-style turban. “The idea is to get it out of the way,” he said.

THE TOOLS:

ON SKIN: Cantello prepped skin with Giorgio Armani Crema Nera Regenerating Cream, then smoothed away imperfections with Face Fabric foundation.

ON EYES: In a riff on the designer’s midnight-colored day jackets and evening dresses, she drew a heavy black rim around the eyes (using Smooth Silk Eye Pencil), then dusted on two thick lines of color along the lash-line and brow-bone in matching “Armani blue” powder pigment (Maestro Eye Shadow in #21).

ON CHEEKS: Giorgio Armani Sheer Bronzer

ON LIPS: “They’re completely bare,” said Cantello. “I wanted them to look a bit dry in texture, rather than glossy.”

HAIR: To slick the hair securely into place, Oribe used his own Gel Sérum and SuperFine Strong Hairspray.

SPOTTED: By Cantello’s station, a renegade pot of Armani’s Eyes to Kill Intense cream shadow in a striking sterling shade—not out until February.

Source: vogue.com​

 

[missbluejean]

Roberto Cavalli



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by Catherine Piercy

THE CREDITS: Makeup, Pat McGrath for Cover Girl; hair, Guido Palau for Redken

THE LOOK: Haute hippie channels her inner rock star.

MAKEUP: To give Cavalli’s muse for spring a convincingly rock ’n’ roll edge, McGrath went with smoky, slept-in eye makeup, softly contoured cheeks, and nude lips. “It’s a bit dark [in attitude],” she said.

HAIR: “I was imagining the kind of girl that lived in San Francisco or L.A. in the seventies and never cut her hair,” said Palau of the models’ straight, center-parted hair extensions, which hit just below the waist of their fringed leather harnesses and floor-length dresses.

THE TOOLS:

MAKEUP:

ON CHEEKS: McGrath defined cheekbones with a soft taupe-colored contour powder.

ON EYES: After rimming the eyes in black kohl, she blended a haze of deep brown powder along the upper and lower lids “for strength.”

ON LIPS: To channel the cool, neutral lips of the decade, she dabbed a clear balm on the mouth.

HAIR: Palau used Redken Align 12 Protective Straightening Lotion to blow the hair dry, then ironed it straight and sprayed it with Vinyl Glam 02 Mega Shine Spray for a glossy finish.

Makeup artist Pat McGrath was on the same tip, crafting a smoky eye, which has become something of a staple at this show. Rimming lids with a black kohl eye pencil, McGrath blended a wash of brown shadow along the upper lash line, dragging it toward the brow bone and underneath the lower lash line for a “slept-in look.” A slight cheek contour and a balm-slicked mouth finished the whole look, which model Erin Wasson liked so much, she kept it intact, adding a brick red lip for the amfAR Milano gala later that night.

(vogue, style, wwd)

 

[flyme2themoon]

Dries Van Noten

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by Catherine Piercy

THE CREDITS:
Makeup, Peter Philips for Chanel; hair, Paul Hanlon; manicure, Anny Errandonea.

THE LOOK: Pristine Belgian beauty goes conceptual for spring.

MAKEUP: “It’s that first spring feeling, a deflection of color,” said Peter Philips of the abstract stroke of palest green he drew below the brow bone (against an otherwise bare face). “It’s as if you were wearing a lime-colored blouse or walking in the grass and the light bounced up to meet you.”

HAIR: “The collection has a lot of prints and florals, so you have to be careful with the hair or the whole thing becomes too romantic,” said Paul Hanlon, who settled on smooth, slightly forties-inspired waves brushed neatly away from the face. “It’s very clean, very pure. There’s a certain maturity to it.”

NAILS: While hands remained a discreet sheer pink, toes were painted in holographic silver at Philips’s request. “It’s an effect that’s seen in the belts and shoes for spring,” he said.

THE TOOLS:

MAKEUP:
ON SKIN: Philips erased any imperfections from the face with Chanel Pro Lumière Professional Finish Makeup, then followed with a dusting of Poudre Universelle Libre.

ON EYES: Picking up on the pastel accents in Van Noten’s collection, he mixed a cool shade of celery by hand before drawing it onto the brow bone with a small angled brush. He finished by filling in pale brows with Chanel Perfect Brows in Brun.

ON LIPS: “With that eye, any color on the lips looks too retro,” said Philips, who ultimately left the mouth bare.

HAIR:
To achieve a soft, undulating quality, Hanlon saturated hair with Toni & Guy Label.M Extra Strong Mousse before blowing it dry and pressing a slight bend into it with a curling iron. He finished by spraying it with L’Oréal Elnett hairspray and brushing it out gently.

NAILS:
Chanel Ballerina (on hands) and Holographic (on feet).

Source: vogue.com and wwd.com

 

[RedAzalie]

i like the blue playing just under the brow

ps. does anyone could post bigger picture of face page from DvF show?

 

[flyme2themoon]

Diane von Furstenberg

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by Christina Han

THE CREDITS:
Makeup, James Kaliardos for M.A.C.; hair, Orlando Pita for T3.

THE LOOK: All about the lips.

“The clothes are classic Diane, so we’ve gone back to that Warhol image,” James Kaliardos said of his makeup inspiration: Andy Warhol’s iconic, lipstick-centric portrait of the designer during her Studio 54 days. The finished look included a touch of highlighting cream on the cheeks, nude shimmer on the eyes, and no mascara, with all focus on the bright, orchid-pink mouth, which Kaliardos achieved by dusting fluoro-pink powder over a base of magenta lip pencil. “It’s like a floating lip on a clean palette,” he said.

Even the hair was reminiscent of simpler, more elegant times with a loose, backswept chignon. During the first test, Pita and von Furstenberg thought long, thick waves would be fitting for the goddess-inspired collection. “[But] with the prints and detailing, it was just too much,” said Pita. “With the hair back, the look is fresher and more effortless.”

THE TOOLS:

MAKEUP:
ON SKIN: M.A.C. Pearl Cream Color Base applied on cheekbones as a highlighter.

ON EYES: M.A.C. Pearl Cream Color Base, “just dabbed on the center and inner corners,” said Kaliardos.

ON LIPS: M.A.C. Chromagraphic Pencil in Process Magenta and Neon Pigment in Magenta Madness.

HAIR:
T3 + Orlando Pita Plump to prep; a spritz of T3 + Orlando Pita Control Hairspray “to make sure everything holds.”

Source: vogue.com

 

[flyme2themoon]

Rochas

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by Catherine Piercy

THE CREDITS:
Makeup, Lucia Pieroni for M.A.C.; hair, Eugene Souleiman for Wella.

THE LOOK: Pastoral beauty explores her painterly instincts.

MAKEUP: “The collection is full of incredible prints and hints of Scandanavian folklore,” said Lucia Pieroni, who looked to the exquisite blue of the Netherlands’ Delft pottery when dreaming up models’ vibrantly shaded lids and muted peach lips.

HAIR: “It’s quite rural, really,” said Eugene Souleiman of the buns secured with dozens of simple gold combs, and featuring soft, flyaway pieces untucked at random. “It’s very organic, like they were trying to keep their hair up during the day and just pushed them in where they felt like it. Each girl is different; there’s no formula.” Before models took the runway, he tied the house’s exquisite silk scarves—made from the same painterly prints (some created exclusively for Rochas by Swedish artist and family friend Slotts Barbro) as the house’s silk pajamas and bias slip dresses—over the back of the hair.

THE TOOLS:

MAKEUP:
ON SKIN: “It’s pale, simple skin,” said Pieroni, who used concealer as needed. “Nothing else.”

ON EYES: “I didn’t want the girls to look bare-faced and literal, like a Vermeer,” said Pieroni, who blended vivid blue liner (M.A.C. Chromaline Pencil in Marine Ultra) around the eyes instead. Of the color, she added: “If you’ve ever seen the Northern Lights in the summer, they have that same pale, cold quality to them.”

ON LIPS: “It’s a bit off, like a faded photograph,” Pieroni said of the pale, salmon color (M.A.C. Paint Stick in Dusty Coral) she dabbed onto models’ lips.

HAIR:
“There’s absolutely nothing in it,” said Souleiman, who twisted models’ clean hair into a girlish updo. He finished by sliding shiny, gold Création Delorme hair combs into the hair haphazardly and tying the house’s printed scarves for spring over the crown.

Source: vogue.com

 

[flyme2themoon]

Zac Posen

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'Disco Rockabilly' at Zac Posen

“It’s about playful glamour with a touch of eccentricity,” said makeup artist Kabuki backstage at Zac Posen. He mined a late Seventies theme and called on the spirit of “a young Diana Vreeland in the Thirties” for inspiration.

“We’re using a lot of pink on the eye and on the cheek and a very orange-red glossy lip. But the skin tone is very warm, so it doesn’t go really punk,” said Kabuki.

Eyes were glammed up by MAC lashes being applied to upper and lower lids (reminiscent of Posen’s use of feathers in the show), while eyelids were doused with shimmery fuchsia eye shadow.

Meanwhile, hairstylist Jimmy Paul evoked a “disco rockabilly” mood by parting models’ hair on the side and twisting it into tidy updos. Paul used Bumble and bumble Spray de Mode hairspray to obtain the look.

Source: vogue.com and wwd.com

 

[flyme2themoon]

Balenciaga

Makeup: Pat McGrath
Hair: Guido Palau

​

Source: vogue.com

 

[flyme2themoon]

Rick Owens

by Catherine Piercy

THE CREDITS:
Makeup, Lucia Pieroni for M.A.C.; hair, Luigi Murenu for Kérastase.

THE LOOK: Haute Moth

MAKEUP: “The girls are delicate and beautiful,” said Lucia Pieroni of the pale, matte skin and soft, taupe, mothlike markings she shaded in around the eyes to match the muted colors in the designer’s collection.

HAIR: After pulling it back tightly into a sleek low loop, Luigi Murenu slid large, carved horn combs (made by Owens specifically for the show) into the hair, for a similarly otherworldly effect. “Very conceptual, very simple,” he said of the stark, antenna-esque hairpieces.

THE TOOLS:

MAKEUP
ON SKIN: M.A.C. Face and Body Foundation mixed with a hint of white pigment to give the skin a “paled-down,” ethereal finish.

ON EYES: To start with the cleanest canvas possible, Pieroni bleached all but the fairest of eyebrows before getting to work. After drawing a winglike outline from the innermost corners of the eyes to the outer edges of the brow using M.A.C. Fling eyebrow pencil, Pieroni filled it in with soft brown powder (a mixture of M.A.C. eye shadows in Ivory, Deep Brown, Omega, and Copper Plate).

ON LIPS: M.A.C. Lip Erase, to wipe away any trace of pinkish color.

HAIR: Murenu kept hair neat and tight against the head with Kérastase Mousse Nutri-Sculpt.

Source: vogue.com and vogue.it
​

 

[flyme2themoon]

Balmain

by Catherine Piercy

THE CREDITS: Makeup, Tom Pecheux (sponsored by M.A.C); hair, Sam McKnight for Pantene

THE LOOK: Modern-day rock goddess rolls out of bed.

MAKEUP: Pecheux created an army of supernatural beauties for designer Christophe Decarnin’s afternoon show. “It’s about what you don’t see,” he said of the subtly sun-kissed skin, pinkish lips, and shaded-in brows. “It’s the way every woman in the world wants to look when she wakes up in the morning.”

HAIR: “The girls should look rich and sexy and a bit mussed up—but not messy,” said McKnight of the shiny, healthy, artfully “lived-in” hair.

THE TOOLS:

MAKEUP:
ON SKIN: To warm up the skin, Pecheux swirled bronzer together with a hint of apricot blush, then dusted it over the cheekbones. “It’s like when you come back from a vacation with a little bit of color,” he said. “Healthy and relaxed.”

ON EYES: “It’s a strong brow for a strong woman,” said Pecheux, who used powder and pencils to darken the hairs. For the subtlest definition around the eyes, he traced along the lash line with a warm brown pencil, then swiped on the slightest trace of mascara (in black for brunettes and brown for blondes).

ON LIPS: Pecheux turned models’ natural lip color up half a notch with a natural rose-colored pigment.

HAIR: Models arriving from shows earlier that day had their hair washed with Pantene Aqua Light shampoo and conditioner in a room of the Grand Hotel, where Decarnin’s show was held one hour later in the gilded downstairs ballroom. “I wanted the hair to look clean and groomed," said McKnight. He used Frederic Fekkai Lift & Texturizing Spray Gel at the roots for messy volume, then blew the hair dry and rubbed a dab of Pantene Repair & Protect Shine Serum over the ends.

Source: vogue.com

 

[flyme2themoon]

Ann Demeulemeester

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Source: vogue.com and graziadaily.co.uk

 

[The_Ida]

Balmain makeup always gets me. LOVE it, And that is indeed what I'd like to look like when I roll out of bed in the morning...not gonna happen

 

[The_Ida]

Lanvin S/S 11 Backstage HQs


vogue.co.uk via iamlordzen

 

[flyme2themoon]

Haider Ackermann

​

by Catherine Piercy

THE CREDITS:
Makeup, Stephane Marais for M.A.C.; hair, Eugene Souleiman for Wella.

THE LOOK
MAKEUP: “She’s an Amazon woman, strong and sensual,” said Stephane Marais, who looked to the graphic lines of the clothing when dreaming up the bare faces with luminous eyes and starkly conceptual brows.

HAIR: “It’s about extreme perfection, extreme shine, extreme polish,” said Eugene Souleiman. He put a techno-chic twist on the classic ponytail by sculpting the hair at the crown of the head into gravity-defying rounded French pleats, then slicking the rest back for a harder, more linear look.

THE TOOLS:

MAKEUP:
ON SKIN: “There are no warm colors on the face,” said Marais, who dotted skin with concealer where needed but left the rest bare. “It should look like alabaster.”

ON EYES: To create a “halo effect” around the eyes, he blended M.A.C. Pigment in Silver Fog along the lash lines, then smoothed a sheer taupe cream (using M.A.C. Pro Cream Colour Base in Root, Dusk, and Dark Brown) over the lids. “They should look a little wet,” he said of their marble-ized polish. He finished by making a single graphic stroke above the browbone with M.A.C. Boot Black or Dip Down Liner, according to skin type.

ON LIPS: Marais patted M.A.C. Crème Cup lipstick onto the mouth with a finger to give it a sheer nude-ish finish.

HAIR: To give hair its hard-core staying power, Souleiman used Wella Professional High Hair Wet Gel Strong Control and Ultra Strong Contour Hairspray.

Source: vogue.com

 

[flyme2themoon]

Yohji Yamamoto

Makeup by Pat McGrath
​

Source: vogue.com
​