Runway Makeup S/S 12

[flyme2themoon]

^ You're welcome. So, did you recreate the Michael van der Ham eyes? If so, how did it turn out? What (brands/shade names) did you use?


Back to the runway/catching up...
Jil Sander
Makeup: Peter Philips
Hair: Guido Palau

by Catherine Piercy

THE CREDITS:
Makeup, Peter Philips
Hair, Guido Palau for Redken


THE LOOK:

MAKEUP: There is a defining undercurrent of crisp clinical precision to all things Jil Sander in Raf Simons’s hands, whether he’s cutting a slim neon peplum skirt or a hooded ski sweater. This season, the designer went literal with the concept—taking a cue from the controlled, near sanitorium-like purity of 1950s spa aesthetic both above and below the neck. “Raf was thinking of the spa. Both the women who went to it and the women who executed the treatments,” said makeup artist Peter Philips, pausing before the sprawling floor-to-ceiling windows of the Jil Sander headquarters on Via Beltrami to do a final check on model (and campaign girl) Daria Strokous’s milky white complexion. “We wanted pure skin and a groomed, arched fifties brow. Everything is immaculate.”

HAIR: Watching models glide down the runway with their coiffed Tippi Hedren-esque updos, it felt as if they’d stepped out of the salon—and into their crisp white shirt dresses—mere seconds before. Like Simons’s cool white retro pumps, which clicked cleanly down the runway in what seemed like a riff on the world’s chicest nursing shoes, “the hair has a 1950s/1960s mid-century shape,” said Palau, “but it’s been done in a way that’s so cold, so articulate, that it actually becomes . . . modern.”

NAILS: Models’ well-groomed nails were treated with a coat of a clear polish on hands and feet.


THE TOOLS:

MAKEUP: The linchpin to Philips’s rigorously beautiful face for spring was fresh, delicate skin. “It’s a natural perfection,” he said, using Chanel Pro Lumiere foundation to conjure the smooth, preternaturally even surface of a postfacial complexion. He dabbed a bit on the mouth, too—not so much a nod to the beige-toned lip colors of the decade, but to the total refinement of his woman—before drawing a winged line along the upper lashes with Chanel Stylo Yeux Waterproof Long-Lasting Eyeliner. To finish, he swiped a fine coat of Chanel Inimitable mascara on the lashes and drew in his “elegant, arched” brows with Chanel Crayon Sourcils Sculpting Eyebrow Pencil.

HAIR: “You can’t do hair this perfect without putting some guts into it first,” said Palau, who playfully threw on the persimmon-colored plaid scarf presented to him by the fashion house backstage before continuing his work. That meant dousing the hair with Redken Rootful 06 for texture—and height—and blowing it dry. “Raf’s woman was of a similar era last season,” he said of the designer’s mid-century muse. “This time, we’re pushing it a bit further.” To create a classic, era-defining updo, he swept the hair straight back from the face, then pinned it under in a faux bob of sorts and slicked down the sides using Redken Forceful 23 hairspray. “There should be no emotion to the hair. That’s how done it is.”

Source: vogue.com
​

 

[flyme2themoon]

Versace
Makeup: Pat McGrath
Hair: Guido Palau

​

by Catherine Piercy

THE CREDITS:
Makeup, Pat McGrath
Hair, Guido Palau for Redken

THE LOOK:
MAKEUP: Skin—and lots of it—was the message for spring at Versace, where Pat McGrath was charged with producing a near-supernatural glow from head to toe. “Highlighting and healthiness!” she said of the full brows, flushed cheeks, and lit-from-within complexions she created backstage. Below the neck, she imbued shoulders, midriffs, and legs with a luminous finish that lent a punch of visual impact to Donatella’s high-cut short-shorts and peek-a-boo evening dresses.

HAIR: “Gorgeous, rich, sexy…you just want to be her,” said Guido Palau of his thick, high-maintenance hair, which bounced softly around the shoulders as models sauntered down the runway to the tune of Stevie Nicks.

THE TOOLS:

SKIN: McGrath blended foundation into the skin before going over the cheekbones, chin, and inner corners of the eyes with a gleaming metallic highlighter. Below the neck, her team rubbed a subtly shimmering moisturizer over every inch of exposed skin before dabbing away imperfections with concealer and blending luminizer down the front of the shins.

EYES: McGrath dusted a haze of mink-colored shadow around the entire eye, then swiped black mascara onto the top and bottom lashes.

CHEEKS: Forsaking a touch of color in favor of a full flush, she swirled a robust, rose-colored blush over the apples and upward into the temples.

LIPS: Nothing more than a dab of clear moisturizing balm.

HAIR: Models read, texted, and talked to pass the hours it took for Palau’s team to pump up their lush, center-parted hair to full capacity (model Arizona Muse’s book of choice, for the record: Mark Twain’s Joan of Arc). After rubbing Redken Aerate 08 Bodifying Cream-Mousse through damp hair, they blow-dried small meticulous sections, and set it in large pin curls to cool—before repeating the whole process again. Once it had taken on a satin-like quality, he parted it down the center and brushed it over and over again, leaving a hint of curl at the ends.

NAILS: Two coats of sheer nude color—Layla Cosmetics’s nail polish in #87—on hands and feet.

Source: vogue.com

 

[flyme2themoon]

Emilio Pucci
Makeup: Lisa Butler

With “80s Madonna, lingerie, lace” and a “gypsy feeling” in mind, Lisa Butler created a gorgeous smudgy eye with metallic shades of gold and black using MAC Cosmetics.

Face
• Face & Body Foundation – lightly applied to even skintone.
• Select Moisturecover – applied where needed to perfect.

Eyes
• Smolder Eye Kohl – applied through the upper lashline, waterline and lower lashline, with extra depth at the inner and outer corner of eyes.
• Blitz and Glitz Fluidline – smudged through Smolder Eye Kohl around lashes.
• Venetian Tarnish Metal X Cream Shadow – applied over the upper and lower eyelids with fingers, being sure to not over blend.
• Zoomblack Zoom Lash Mascara – applied through both upper and lower lashes to define.
• Hush Hush Tendertone Lip Balm (available Spring/Summer 2012) – dabbed over eyelids during line-up at first looks.
• Brows are left natural.

Lip
• Hush Hush Tendertone Lip Balm (available Spring/Summer 2012) – blended over lips for a subtle nude with shine.​

Source: vogue.com (photos), makeupforlife.net (quote)

 

[flyme2themoon]

Marni
Makeup: Tom Pecheux
Hair: Paul Hanlon

by Catherine Piercy

THE CREDITS:
Makeup: Tom Pecheux for M.A.C.
Hair: Paul Hanlon

THE LOOK:
MAKEUP: It was Consuelo Castiglioni’s accessories—the heel of two-tone caramel-and-white oxford print shoes; the leather of a slim terra-cotta convertible clutch—that inspired Tom Pecheux’s graphic wing of burnt-orange liner on the eyes, which he paired with a semi-erased mouth that seemed to vanish around the outer edges. “This is Marni. You need a little bit of concept, no?” he said playfully.

HAIR: You could practically hear the wind whipping through Paul Hanlon’s deconstructed French twists, licking their wispy flyaway strands out of place and leaving them swirling, gravity-less, just above the head. His team prepped models, but it was Hanlon who finished each girl himself, massaging the hair into a state of disarray with his hands. “Jackie O gone wrong,” he said of the bouffant-inspired style. “If she’s the kind of woman that goes to get her hair done every week, then this is the day before she’s due at the salon. She’s been sleeping on it for a week; the wind has gotten into it. It’s that beautiful fifties hair, but completely destroyed.”

THE TOOLS:
SKIN: Pecheux massaged a calming blend of essential oils into the skin with his hands before setting to work, giving bleary eyed models one more reason to doze in their chairs on the heels of a 7 a.m. call time. After smoothing M.A.C. MixMaster foundation over the face, he powdered it lightly for a natural matte texture. “She’s a young woman, but grown up, with a bit of a sixties flair,” he said of the smooth, finished skin.

EYES: A full, strong brow “is a nice way to make the face powerful without using color,” said Pecheux, who used pencils and powders to shade arches into a heightened shade of brown. He used an angled brush to line the upper lashes with a sharp, creamy wing of coppery orange (a blend of M.A.C. Select Cover-Up Color Corrector in Terracotta and Caramel). To create a slightly surreal effect, he traced the lower lids with a snow white crayon (M.A.C. Eye Pencil in Fascinating), blending the color downward “so it almost looks like it’s melting.” The effect, seen from the runway, was the illusion of a preternatural brightness, “a freshness, rather than anything too abstract,” he said.

LIPS: Using the same foundation he used on the face, Pecheux erased only the edges of the mouth. The effect, finished with a dab of balm, “is a soft pop of pink at the center of the mouth, where the natural lip color comes through,” he explained.

HAIR: If Pecheux’s massage lulled models into a light sleep, Hanlon’s iPod woke them up again. Model Valerija Kelava nodded to a sound track of Prince while Hanlon worked his magic, blowing her hair out with Tigi Queen for a Day Thickening Spray, and then teasing it before pinning it into a haphazard French twist with the top sections pulled free. He blasted the hair with L’Oréal Elnett hair spray while rubbing sections between his fingers for a believably tousled look. If it appeared spontaneous from the front row, however, it wasn’t. “No!” Hanlon cried in mock despair at the sight of models clustered around a vent blowing cool air onto their finished coifs in the overheated backstage space, before dragging them back to his chair for a retouch.

Source: vogue.com
​

 

[Psylocke]

^ You're welcome. So, did you recreate the Michael van der Ham eyes? If so, how did it turn out? What (brands/shade names) did you use?

Haha, I haven't made a serious attempt yet but I did try some similar looks, using different shades of green from MAC and an old Dior purple eyeshadow but I don't have anything similar to that bronze/gold that they used so I used silver instead, but that turned out too kitschy But I'm definitely into that multi-colored eye make up look at the moment and love playing around with different colors

 

[flyme2themoon]

Haha, I haven't made a serious attempt yet but I did try some similar looks, using different shades of green from MAC and an old Dior purple eyeshadow but I don't have anything similar to that bronze/gold that they used so I used silver instead, but that turned out too kitschy But I'm definitely into that multi-colored eye make up look at the moment and love playing around with different colors

It's amazing how one color can change the whole aspect, sometimes for the better, and other times...

To recreate the eyes, I plan on using MAC's Endless Love & Up-Do eyeshadows, Teal Pigment, and Fyrinnae Aztec Gold .

Speaking of Fyrinnae, and as a fan of colorful eye makeup, I highly recommend that you try their eyeshadows (if you haven't already). They make the most *gorgeous* unique colors, with superb quality, & wallet-friendly prices.

 

[flyme2themoon]

Missoni
Makeup: Lucia Pieroni
Hair: Eugene Souleiman
Nails: Marian Newman

​

by Emily Holt

THE CREDITS:
Makeup, Lucia Pieroni for M.A.C.
Hair, Eugene Souleiman for Wella
Nails, Marian Newman for Minx Nails

THE LOOK
HAIR: “We call them sunrise birds,” Angela Missoni said, standing in the courtyard of the Università degli Studi di Milano just before her show, as models made up to look as if they’d been out flamenco dancing until dawn brushed past, their pulled-back hair prettily disheveled. “There’s absolutely no structure to it,” said Eugene Souleiman backstage as he tied Ruby Aldridge’s tangled mane into a messy ponytail, securing it with a Spanish red-enamel comb. “In fact, if I closed my eyes, it’d turn out better—it would have that kind of spontaneous beauty.”

MAKEUP: Morning-after makeup, Missoni-style, is faded almost enough to resemble fresh, clean skin. “It’s like nothing, but there’s something there,” said Lucia Pieroni, whose monochromatic and slightly shiny look implied that the models had been having too much fun all night to worry about reapplying lipstick or powdering their noses. Eyes were smoky, but not smudged, “quite watercolor-y,” in Pieroni’s words. “They’re just kind of sexy girls looking gorgeous, which is always nice for summer.”

NAILS: To play up the party-girl spirit, Newman created 20 different nail coatings—from pink, yellow, and turquoise Missoni-esque zigzags to hologram zebra stripes—and applied them over an iridescent chrome base.
THE TOOLS
ON HAIR: To give models’ hair that up-all-night patina, Souleiman slicked down the roots with Wella Rugged Fix, “as if the young lady’s been sweating,” while blowing the hair dry. He pulled the ends into a low ponytail, but, before looping it all through and securing with a length of string, he massaged the sides of the head to create texture. After adding the enamel comb—to reflect the Spanish influence of the clothes—he quickly misted the tail with a shot of Wella Ocean Spritz. “It’s just organic, dirty, and sensual,” he said. “It’s about the beauty of imperfection, really.”

ON FACES: Pieroni lightly swiped M.A.C. Metal-X eye shadow across the cheekbones, chin and bridge of the nose to evoke a sultry radiance, but, “it’s really all about the eyebrows,” she said. To create major, yet not overpowering, brows, she chose eye shadow a shade deeper than each model’s hair color—in most cases, M.A.C.’s Coquette or Copperplate—and lightly skimmed it across the arch. “Since it’s a dark tone, you get this really gorgeous, big eyebrow without looking ridiculous. You need to make it big. It comes down here,” she said, tracing the outer tip with her finger, “so it opens the eye.”

ON NAILS: Minx nail applications, custom-made for the show.

Source: vogue.it, vogue.com

 

[flyme2themoon]

Giorgio Armani
Makeup: Linda Cantello (Linda strikes again! )
Hair: Franco Gobbi

​

Pearls Of Girls, Backstage At Giorgio Armani
September 27, 2011

“Mother-of-pearl,” that delicate, iridescent, reflective color most notably found inside seashells, may not be easily translatable into fabrics, but Giorgio Armani made short work of that task for Spring. Its glimmering effect is readily available in the cosmetics world, however, which was not lost on Giorgio Armani Beauty international makeup artist Linda Cantello, who not only applied the shade onto a clean, powdered base backstage but had a specific cream shadow created for the occasion. The latest installment of Giorgio Armani Beauty Eyes to Kill Intense Eye Shadow will debut next year (and will in fact be called Mother of Pearl, for its shimmering, pastel-tinged quality), but Cantello had early access to the pigment, which she swiped across eyelids and out past temples. On top, she traced its forthcoming shadow in Ecaille, a blackened green, along the upper lash line with an angled brush, scrawling it onto the crease as well in a 1930’s-era half-moon shape to create the illusion of a double-extended flick when models opened their eyes.

As for those textured updos, hairstylist Franco Gobbi was going for low-maintenance but super-elegant. Prepping hair with Bumble and Bumble Holding Spray, Gobbi created soft side parts and, finger-combing hair backward away from the hairline, he twisted small sections into tight coils that he pinned randomly.

Source: vogue.it, style.com

 

[flyme2themoon]

Dries Van Noten
Makeup: Peter Philips
Hair: Paul Hanlon

​

by Catherine Piercy

THE CREDITS:
Makeup: Peter Philips
Hair: Paul Hanlon
Nails: Anny Errandonea

THE LOOK:
HAIR: Fresh off a twelve-hour hair test for the designer the night before, Paul Hanlon’s dual-textured ponytail proved a work in progress. “We began with these very elaborate Spanish rolls in the hair,” said Hanlon, pulling out a Polaroid of the groomed, elegant updo he’d used as a starting point. “But when the girls got into the clothes, there was too much going on.” He pulled a 180-degree turn—unpinning the hair and sweeping it into a low, side-parted ponytail instead. “There’s a tension to it in that you’ve got this sleek, glossy head and then a very natural texture to the length,” he said. “Very simple, very pure.”

MAKEUP: “It’s an homage to the natural beauty of a woman—which is another way to describe what you’d think of as no-makeup makeup,” said Peter Philips from the cavernous backstage area of the Palais de Chaillot. Working in contrast with Van Noten’s exquisite prints, he gently fine-tuned the features of the face—taking down the pinkish lip tone of models Ruby Aldridge and Hanne Gaby Odiele’s mouths half a notch, while subtly turning up the volume on their darkened brows and glossy, transparent lids. Neutral, beige nails got a matte topcoat. “It’s about eliminating any distractions while making the girls beautiful.”


THE TOOLS:
SKIN: “Even a hint of blush on the face was too much,” said Philips, who stuck to a sheer veil of Chanel Pro Lumière or Vitalumière Aqua foundation to even out the skin tone, then dabbed a bit on the lips. To subtly highlight the eyes, he blended a flesh-toned pigment (Chanel Le Crayon Khôl in Clair) into the lash-lines. “It creates a brightening effect, like a white pencil, but without being so visible,” he said, dabbing a clear gloss on the lids for a hint of shine. A swipe of Chanel Inimitable mascara “only at the roots” added a kind of trompe l’oeil definition.

HAIR: With a nod to nineties minimalism, Hanlon blew the hair out with his hands using L’Oréal Texture Expert Mousse “for shine,” then created a deep, “almost masculine” side part before pulling it back tight and fastening it at the nape of the neck. The effect was slick from the front and easy from the back—as if the girls had stepped out of the shower, raked their hair back, and let the ponytail air-dry on its own. In spite of its effortless appearance, the look relied heavily on attention to detail: “Dries wanted to cover the elastic band,” said Hanlon as he worked on one model, wrapping a small section of hair around the base of the ponytail and finishing the ends with TIGI Bedhead After-Party Smoothing Cream for polish.

NAILS: On hands and feet: Chanel Le Vernis in Beige Naturel, finished with a dash of the company’s Beauté des Ongles Top Coat Velvet.

Source: vogue.it, vogue.com

 

[flyme2themoon]

Christian Dior
Makeup: Pat McGrath
Hair: Orlando Pita

​

by Catherine Piercy

THE CREDITS:
Makeup: Pat McGrath
Hair: Orlando Pita
Nails: Elsa Deslandes

THE LOOK:
MAKEUP: Models sitting shoulder-to-shoulder around the pale-green fountain of the Rodin Museum wore T-shirts, jeans, and motorcycle boots. Makeup artist Pat McGrath, too, played off an intuitive juxtaposition of the old and the new when it came to Dior’s spring face. “It’s red the way a girl would do a red lip today,” said McGrath of her cool cherry-colored mouth. “Modern, moist, dabbed on with a finger.”

HAIR: “We’re trying to establish a fresh identity for the Dior woman,” said Pita, who abandoned the theatrical style of seasons past for something simpler. His side-parted, sideswept updos fell over one eye in a look that perfectly captured the youthful chic of the Rive Gauche set.

THE TOOLS:

MAKEUP: “I brought all these cashmere sweaters with high hopes,” said McGrath, alluding to the unusually warm weather in Paris all week. “Now I’m stuck wearing a beach tunic.” She lived vicariously through the skin, swathing it in a layer of lightweight foundation and dabbing highlighter where needed. Models’ softly contoured lids intentionally blended into the background, leaving the focus on the mouth. “We’re tissuing it down,” she said of the blotting technique she uses to ensure a fresh-pressed quality to her Betty Draper red lip.

HAIR: Pita caught up with model Karlie Kloss (looking even leggier than usual, somehow, in a pair of slim denim jeans) after finishing her hair. “It’s very elegant,” he said, prompting Kloss to strike a regal pose before she broke into laughter. He blew the hair out with T3 Plump Heat-Seeking Liquid Hair Plumper before rolling and pinning it into the place. With its uneven pins and undone front section, it looked as if it had started out perfect, then unraveled slightly throughout the night.

NAILS: Deslandes’s palette of Impressionistic nail polishes was assigned at random. Dior’s Forget Me Not (plum), Waterlily (green), and Incognito (nude) polishes launch this month, while Riviera (tangerine) and Lucky (coral pink) will be available in the spring.

Source: vogue.it, vogue.com

 

[flyme2themoon]

Junya Watanabe
Headpieces by Katsuya Kamo

​

Source: vogue.it

 

[flyme2themoon]

Ann Demeulemeester

​

Source: vogue.it

 

[MulletProof]

Loving the makeup at Gaspard Yurkievich, so fresh and icy for summer, which makes it a bit more special, and I have a weakness for messy eyebrows, too bad mine are impossible to manipulate no matter how much I try.

I couldn't find much info on it but if someone does, it will be very welcome!

Gaspard Yurkievich

[stylebistro]

 

[oh me]

Balmain

Created by Tom Pecheux for MAC Cosmetics, the look at Balmain Spring 2012 consisted of contoured cheeks, “some “leftover” makeup on the eyes, with a strong, well-groomed brow”.

Face
• Face & Body Foundation – applied to even skintone and perfect.
• Prep + Prime Transparent Finishing Powder – blended through the center of the face for a polished effect.
• MAC Pro Taupe Powder Blush Pro Palette – blended under cheekbones to contour.

Eyes
• Brows are lightly shaded to perfect.
• Lashes are curled.
• Lofty Brown Zoom Lash Mascara – applied at the root of both upper and lower lashes to define.
• Smolder Eye Kohl – applied through the root of upper lashes, then blended with fingers.
• Coffee Eye Pencil – applied through the waterline of lower lashes and then smudged to create an “after party” effect.

Lips
• Lip Conditioner SPF 15 – hydrates and perfects lips with a natural finish.

stylebistro, makeupforlife

 

[oh me]

Chloé


style.com & stylebistro

Working for MAC Cosmetics, Lucia Pieroni created “caramel, honey-toned” makeup at the Chloe Spring/Summer 2012 show.

Face
• Face & Body Foundation – applied over the entire face as a sheer veil for a natural finish to skin.
• Fusion Gold Metal X Cream Shadow (available Spring/Summer 2012) – blended over the temples, upper cheekbones, bridge of nose and Cupid’s bow with fingers for a sheer, glowing highlight.
• Medium Deep Mineralize Skinfinish Natural Foundation – lightly buffed over cheeks.

Eyes
• Groundwork (for blondes) and Constructivist (for brunettes) Paint Pot – used to create a shadow around eyes, intensified through the lashline and blended outwards to disappear into skin.
• Brownette (for blondes) and Plushblack (for brunettes) Plush Lash Mascara – lightly defines both upper and lower lashes.

Lips
• Fresh Brew, Myth, and MAC Store/Pro Patisserie Lipstick – mixed together and blended over lips for a healthy, nude lip.


makeupforlife

 

[ChloeFrancoise]

From the Armani pictures, what's the name of the first model pictured in the larger versions? I keep seeing pictures of her on different sites but of course I never spot her on a site that actually names her.
Also like usual some of my favorite runway looks barely look like they involve makeup. Even though Erdem is also a favorite like usual.

 

[oh me]

ChloeFrancoise,

style.com says it's Isabella Melo

 

[ChloeFrancoise]

Thanks.

 

[Kate_Moore]

So inspiring, my favorite would be the nails at Missoni and Dior.

 

[flyme2themoon]

Chanel
Makeup: Peter Philips
Hair: Sam McKnight​

​

by Catherine Piercy

THE TOOLS:
Makeup: Peter Philips
Hair: Sam McKnight

THE LOOK:
MAKEUP: “Have you seen the space?” asked Peter Philips of the white seashell underwater set (where surprise guest Florence Welch was holding a sound check), when describing the context for the show’s neo mermaids with their wet, luminous lids and glistening lips (not to mention the tiny pearl “piercings” along the earlobes, brow, lower lip, and even trailing down the spine). “Karl always has a clear idea of what he wants for the face. He sent me sketches a few months ago,” continued Philips, who worked from one of the designer’s hand-drawn renderings (a copy of which hung near his makeup station backstage), as well as fabrics from the collection—reflective surfaces, scale-like appliqués—when translating his vision into makeup.

HAIR: “Thirty-six girls done,” said a preternaturally calm Sam McKnight—who still had 34 more to go, an hour and a half until showtime. His sleek wet chignons, too, were sprung from the sea, and shot through with (what else?) oversize CC-stamped pearls. “It’s the idea of a girl who’s just come out of the ocean and run her fingers through her hair,” he said.

THE TOOLS:
SKIN: To give skin a luminous cast, Philips blended Chanel’s forthcoming Vitalumière compact foundation over the face, then swirled a bright pink powder (from the Blush Horizon de Chanel palette) lightly over the apples and under the chin. “It keeps the face from disappearing on the runway,” said Philips of the pro trick. His pearl piercings—seen on models like Arizona Muse—were from Swarovski. “They’re flat on the back and we’re just placing them where we want them to go,” he explained of the tiny adhesive elements.

EYES: The collection’s twinkling iridescent dresses and metallic-threaded tweeds called to mind the rippling sparkle of sunlight across the water. So, too, did Philips’s glimmering lids, thanks to a wash of creamy white pigment (Illusion d’Ombre shadow in Fantasme). “It turns into more of a glow as it fades toward the hairline,” explained Philips, who then dipped into a pale peach shade (Illusion d’Ombre shadow in Émerviellé), which he gently rubbed from the outer corners of the eyes toward the temples. A line of black pencil along the upper lashes (Le Stylo Yeux Waterproof in Ébène) and another in beige on the inner rim of the lids (Le Crayon Khôl in Clair) gave the eyes definition. He finished with a coat of Inimitable Mascara “on the top lashes only.”

LIPS: Models flooded the buffet of miniature pancakes, madeleines, and fresh-squeezed pear juice after rehearsal—and tried hard not to ruin their sheer, shell-pink lip color (Chanel Glossimer in Plaisir) in the process.

NAILS: Philips used his charming spring trio of Le Vernis polishes in April (a rosy red), May (pure pink), and June (pale orange) on the hands and feet. “They get lighter as the weather gets warmer,” he said. A handful of girls got a coat of the company’s lacquer in Attraction, a new oyster-colored shade due out in January, instead.

HAIR: Riffing on “that boyish thing” that’s a signature to the house—it was Mademoiselle Chanel, after all, who revolutionized the woman’s pant—McKnight gave hair a deep side part and sleek groomed quality using handfuls of mousse (Sebastian Mousse Forte) and a conditioning mask on the ends (Pantene Repair and Protect Intensive Hair Repair Treatment). “We need to keep the ends looking wet until the show starts, without putting actual oil in the girls’ hair, or they’ll never forgive us,” he said, raking a wide-tooth comb over the crown to create seashell-like grooves along the head and fastening it into a ponytail. After winding it into a hybrid chignon-bun, he misted it with Fekkai Advanced Brilliant Glossing Sheer Shine Mist and something called Brilliant Diamant—a lacquer-like pro shine spray the hairstylist discovered in Paris. “You can only buy it in France,” he said. Nearly 800 lustrous pearl hairpins, created by the fashion house in anticipation of the show, waited nearby, divided into neat clear packets bearing each model’s name. “They’re beautiful, aren’t they?” said McKnight, who slid eight to ten into each model’s hair at random.

Source: vogue.it, vogue.com