Runway Makeup S/S 13

[flyme2themoon]

Nicole Miller
Makeup: James Kaliardos
Hair: Kevin Ryan
Nails: Candice Manacchio

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September 8, 2012
Backstage at Nicole Miller Spring 2013

James Kaliardos, for MAC, was inspired by technology and nature for the beauty look at Nicole Miller. The focal point was the eye, a “soft smoky” blend of four purple shades from MAC’s Spoiled Rich palette — launching in the spring — housed in “Archie”-comics-inspired packaging. “I’m trying to restrain myself this season,” said Kaliardos, who used Haute & Naughty Too Black on lashes. “I’m using color in a natural way.” To give skin contour and highlight, he utilized Prep + Prime Highlighter pens, Taupe Shape Blush, new for spring, and Mineralize Moisture SPF 15 Foundation, which launches in fall 2013. Lips were kept neutral, with Posh Tone Mineralize Lipstick, also new for fall 2013.

Hair was kept “futuristic and modern,” with a feeling of “things moving faster,” according to the lead stylist, Kevin Ryan, who parted hair in the center, then applied Aveda Volumizing Tonic before infusing two tight “Avatar”-referencing fishtails, which Ryan said “feel like zippers.” Hair that “wanted to fall” was pinned back, and the remaining style was straightened and left to fall along the neckline. “It’s a nod to graphics,” said Ryan, who used tiny black elastics from Ricky’s NYC to hold his intricate braids.

Nails were given a “galaxy glam manicure” by Candice Manacchio, lead artist of CND. Inspired by Eighties sci-fi geometric shapes and diamond patterns, Manacchio created a customized mint shade, which referenced Miller’s spring collection. That shade was given a holographic coating of Sapphire Sparkle effects polish, and white “stars” were added with a detail brush. The inverted diamond — created by uniting two French-manicure Vs — featured Black Jack and supershiny Air Dry topcoat. Manacchio said it took 40 hours to make the 22 sets used for the show.

Source: stylebistro.com, wwd.com

 

[flyme2themoon]

Cushnie et Ochs
Makeup: Charlotte Willer
Hair: Tommy Buckett

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Backstage video of Charlotte Willer in action & the products she used:
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Source: stylebistro.com

 

[flyme2themoon]

Ruffian
Makeup: James Kaliardos
Hair: Neil Moodie
Nails: Keri Blair

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18th-Century Meets Williamsburg Hipster at Ruffian Spring 2013
Posted by klaudiakaczmarekk September 08, 2012 2:30 pm

It’s only day three of New York Fashion Week and the trends are already building up. Yesterday at Rag & Bone, Global Artistic Director for Revlon and Fashion Week veteran, Gucci Westman, opted for bold brows as a major focal point of the makeup look. Now, it looks as though James Kaliardos got the statement arches memo. Backstage at Ruffian, James led the MAC Cosmetics team to create a look inspired by “a Bouchet painting from the eighteenth century and Williamsburg hipsters.” The models wore a soft gray shadow on the lid and plenty of contour on the cheeks to compliment the brows. The lips were painted with none other than two shades of MAC Ruffian Lipstick from the collaboration between the design house and makeup brand. Most of the models wore Ruffian Naked, while just a few models wore Ruffian Red.

Over in the hair department, Neil Moodie and his team of Bumble and Bumble stylists created a cool, rockabilly coif that meshed with the “couture meets street” collection perfectly. He started out by layering Bumble and Bumble Prep Spray and Styling Cream from roots to ends and power drying “so hair is a little matted and textured.” To create the fun pompadour, Neil dried the hair with a large bristle brush to get some height and back-combed the bangs for that rock and roll look. He stayed away from blowing it all the way through so hair isn’t too smooth at the ends. The sides were sleek so the pouf received all the attention.

Our favorite part of the look was definitely the nails created by Keri Blair for MAC Cosmetics. Models wore pink, blue, yellow, or white polish with nail “jewelry” on the ring and pinky nails. Keri glued small, gold filigree right on top of the color. “I actually sat and hand bent each filigree to fit the nail bed,” said Keri. “It took me two hours.” Just don’t go searching for the nail colors yet. The four shades with a subtle reflection are a new texture MAC is testing out. “We are hoping that they come to life at some point,” said Keri. Us, too!

Source: stylebistro.com, beautyhigh.com

 

[flyme2themoon]

Alexander Wang
Makeup: Diane Kendal
Hair: Guido Palau

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Backstage At Alexander Wang, The Future Is Bright
September 9, 2012

The supermodel surprise that caused more than a few oohs and ahs backstage at Alexander Wang last season was notably missing for Spring, save for a catwalk cameo from Erin Wasson. But there was still plenty of shock value in the catacombs of Pier 94. Following the Kristen Stewart affair scandal that dragged her name through the international tabloids, Liberty Ross was getting ready for the runway; then there were those strips of scalp tape.

“It’s severe and simple-looking,” Guido Palau suggested of the pieces of black—and, in some cases, glow-in-the-dark white—electrical adhesive he stuck to slicked-down middle parts. “It looks more futuristic and takes [the style] to another level so it’s not too simple,” he continued of the accessory he added to a classically placed low ponytail that he prepped with Redken Satinwear 02 Ultimate Blow Dry Lotion, adding a slight bend to the lengths with Sultra’s The Bombshell oval curling iron. Enhancing the modern, otherworldly feel were fingers painted with two coats of Dune, the neutral beige that is part of Wang’s latest collaboration with Sally Hansen (which also includes White Out, a sheer alabaster), and about ten sets of bleached brows, purposely lightened by L’Atelier de Laurie’s Laurie Foley, and modeled by the show’s blond closers including Iselin Steiro, Magdalena Frackowiak, and Daria Strokous.

The makeup was “bold, strong, and sexy”—words we imagine Diane Kendal has all but memorized after seven-plus seasons of building up Wang’s signature “boyish” brows and not much else. Her focus was on arches again this season. Using NARS Eyeshadow in Blondie or Bali to create depth and thickness after treating complexions to a slathering of NARSskin Optimal Brightening Concentrate and a light coat of its Sheer Glow Foundation, Kendal dusted the high points of models’ faces with its new-for-Spring Light Reflecting Setting Powder. Simulating a slight flush with NARS Blush in Zen, she continued, contouring lids with its Cream Eyeshadow in Cayenne, a rich milk chocolate. Then Kendal did something that is gaining popularity for Spring: She skipped the mascara altogether, because glossy black lashes “make you look more pedestrian and normal,” she said. And the intrigue mounts.

Source: style.com

 

[flyme2themoon]

Victoria Beckham
Makeup: Diane Kendal
Hair: Guido Palau

David, Harper, And “Strong, Simple” Beauty Backstage At Victoria Beckham
September 10, 2012

Part of the fun of being backstage at a Victoria Beckham show is that it’s a family affair. Since the birth of her daughter two years ago, it’s become common practice for Beckham’s soccer star husband to emerge pre-presentation, Harper on his hip. The other thrill is to see the hair and makeup.

Beauty for Beckham is an evolution, much like her clothing design; “she’s still figuring out [that] side,” Guido Palau said, pointing out that she likes a strong look but wants to keep it simple—which is why Diane Kendal’s original orange lip was scrapped at the last minute for Spring’s early preference for the subtle and subdued. In its place were “contours” and “highlights,” two familiar words in New York this week, which Kendal created using a series of Maybelline New York Expert Wear Eyeshadows in Made for Mocha and Nutmeg, powder pigments that carved out the hollows of cheeks and the sockets of eyes with a bit more definition than you’d get from a cream product. Its Eye Studio Color Tattoo Eyeshadow in Too Cool, a creamy silver shimmer, provided a luminescent shine to cheekbones, brow ridges, and the bridge of the nose.

Palau’s look started out “unreferenced” and stayed that way. Operating under the guise that “something just feels right about minimal hair right now” and without a specific era or individual from which to cull inspiration, he went with a dual-textured middle part that was prepped with Redken Guts 10 Volume Spray Foam Mousse to provide a grip to the hair, which was rough-dried with its Powder Refresh 01 Aerosol Hair Powder Dry Shampoo in back and given long, purposeful flyaways. “The hairlines have got to be perfect,” Palau instructed his team as he smoothed down front sections with its Shine Flash 02 Glistening Mist—the better to wear those perfectly crisp, buttoned-up-to-there collared shirts, we imagine.

Source: stylebistro.com, style.com

 

[flyme2themoon]

Altuzarra
Makeup: Tom Pecheux
Hair: Paul Hanlon ​

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“Very French,” “So Chic”—And Approachable!—Beauty Backstage At Joseph Altuzarra
September 9, 2012

“I don’t want to create jealousy,” Tom Pecheux said backstage at Altuzarra, “but [Joseph's] definitely in my top three.” The famed face painter was so transfixed with the designer’s Spring collection, in fact, that recollections of the makeup test were a little fuzzy. “I don’t 100 percent remember [Joseph's] exact words [at the test] because I was hypnotized by his clothes,” Pecheux admitted. He did manage to retain a few key objectives, though. “We wanted the girls to be extremely sophisticated and perfect, but in a simple way.”

This translated into a classic Catherine Deneuve-meets-Yves Saint Laurent face treated with MAC Face and Body Foundation and emphasized with a “very French” accent in the form of a navy, not black, stroke of eyeliner. “It’s royal blue, and I think it’s so chic,” Pecheux clarified of MAC’s Technakhol Pencil in Auto-de-blu, which he drew along models’ upper lash lines. “No wings,” he reminded his team of the lines’ elongated ends, which he wanted to be straight rather than turned upward. “I didn’t want any retro feeling,” Pecheux explained.

When asked why minimalism is emerging as an early trend at the shows in New York, Pecheux noted that “you don’t want anything feeling too heavy, because life is anything but light right now,” referencing the American and French elections and the European financial crisis. “In a way, people want to do less.” Paul Hanlon was on a similar tip, as he became one of many voices to reference Helmut Newton’s special brand of nineties-era minimalism this week, which he mixed with clean, precise equestrian- and Japanese-inspired lines. “But it’s very simple,” the coiffing star stressed of the sleek side parts he prepped with Frédéric Fekkai Full Blown Volume Styling Whip, gathered into a low ponytail that he coated with its Sheer Hold Hairspray for a flat-lacquered effect, and wove into what he called a “half-bow,” not a bun. “A bun would’ve been a cop out.”

Hanlon concurred that requests for a certain kind of subdued beauty have definitely been bandied about by designers so far this season—which is a good thing for people looking for an entry point into the world of high fashion. “Sometimes, when there’s a reference in the look, it can be a bit untouchable; when it’s simple, it makes you believe you can be that woman”—a woman, it’s safe to say, everyone in attendance was envisioning themselves as by the time Altuzarra’s finale hit the runway.
Photo: Luca Cannonieri / GoRunway.com

Source: style.com

 

[flyme2themoon]

Oscar de la Renta
Makeup: Gucci Westman
Hair: Orlando Pita

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September 11, 2012
Backstage at Oscar de la Renta Spring 2013

At Oscar de la Renta, Orlando Pita and Gucci Westman, global artistic director for Revlon, were both inspired by Audrey Hepburn’s Holly Golightly in “Breakfast at Tiffany’s.” “It’s Holly Golightly meets Keith Haring,” Pita explained as he added colored pieces of hair — blue, pink or yellow, depending on the model — and teased hair into a volumized French twist, finishing with a generous application of hair spray.

Westman wanted girls to look “naughty but nice — I wanted it to feel colorful and pretty.” Westman kept skin luminous with Revlon PhotoReady Color Correcting Primer, PhotoReady Perfecting Primer and PhotoReady Cream Blush in Flushed. Lips were the centerpiece of the look: Westman used Revlon Just Bitten Lipstain + Balm in Crave, Revlon Baby Stick for Lips and Cheeks in Pink Passion and Revlon ColorStay Ultimate Suede Lipsticks in Muse and Preview to create a suede-matte fuchsia lip. Eyes got a bit of ColorStay Eyeliner in brown, curled lashes and a swipe of Revlon Illuminance Crème Shadow in Not Just Nudes. Several girls got freckles — the eye-pencil variety.

Nails were finished with Shock, a vibrant pink; Envy, a sea green, or Flirt, a refined opal white shade. All are limited-edition shades that the designer will begin taking pre-orders for in October.

Source: wwd.com, stylebistro.com

 

[flyme2themoon]

Michael Kors
Makeup: Dick Page
Hair: Orlando Pita

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September 12, 2012
Backstage at Michael Kors Spring 2013

A Sixties-via-the-Nineties vibe characterized the beauty at Michael Kors. Dick Page, Shiseido’s artistic director, focused on adding “a pop of color” to the eyes with a face that was otherwise soft and subtle. He began by applying Shiseido Luminizing Satin Face Color in Soft Beam Gold and High Beam White to create lightness on the eyelid, upper cheek and under-eye area. Next, using a soft fluff brush, he created what he called “a floating graphic arc” along the natural shape of the lid — in turquoise for blondes and redheads, green for brunettes. The upper lash line got a trace of white, followed by Luminizing Satin Face Color in High Beam White and a light coat of Perfect Mascara Full Definition in black. Brows were emphasized using Shimmering Cream Eye Color in a shade appropriate for each girl. Lips were finished with Perfect Rouge in Vision, a pale nudish-pink.

Orlando Pita did a deep side part and swept hair across the head, using elastic bungee fasteners to create two small sections of hair that then were covered with another panel of hair and secured with a thin barrette.

Source: stylebistro.com, wwd.com

 

[flyme2themoon]

3.1 Phillip Lim
Makeup: Francelle
Hair: Paul Hanlon

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A Modern Take on Grunge at 3.1 Phillip Lim Spring 2013
Posted by klaudiakaczmarekk September 11, 2012 3:30 pm

Backstage at 3.1 Phillip Lim, the models all looked like “one big girl band.” The look was rock and roll, yet sophisticated. Francelle for NARS Cosmetics created a cool, modern take on grungy makeup complete with ten to 12 coats of mascara.

The collection was filled with embellishments, plaid, floral, and even ‘I Love NY’ T-shirts. Francelle was inspired by all these factors. “All of a sudden, I went towards my high school days as me being a grunge girl with my flannel T-shirt and black eye liner and mascara. But I wanted to do a very modern take on that,” said Francelle. “I wanted to duplicate a look as if these girls are playing at Coachella. They are kind of sun-kissed, but have an edgy, bold black mascara eye.”

To get the chunky mascara look, Francelle began by applying two coats of Larger Than Life Lengthening Mascara and then curling the lashes. Once that dried, she went back and started clumping the lashes together and caking on mascara. She added a tiny bit of pink eyeshadow from the Bouthan Duo Eyeshadow (new for spring 2013) just for depth. For the face, she applied Casino Bronzing Powder on the apples of the cheeks and the bridge of the nose. “I left the forehead and chin bare because I didn’t want too much of a finished look,” said Francelle. She finished off the look with Biscayne Park Satin Lip Pencil (a cross between a lipstick and a lipgloss – new for spring 2013). The lip color was too shiny for her liking, so she matted it out with pressed powder.

If you want to recreate the look at home, Francelle recommends dialing down the amount of mascara and concentrating on clumping the lashes together with only a few coats. If you don’t like black, try a colored mascara. “What’s so great about Fashion Week is that people can gather their own inspiration and have their own take on that – that’s always inspiring to me,” she added.

The modern grunge makeup looked extra cool with big, teased hair created by Paul Hanlon for Fekkai and nails by Michelle Saunders for Essie who painted half of each nail with Essie Chinchilly and the other half with Brooch the Subject.

Source: stylebistro.com, beautyhigh.com

 

[flyme2themoon]

Edun
Makeup: Tom Pecheux
Hair: James Pecis

September 11, 2012
Backstage at Edun Spring 2013

“A clean youthful, rock ’n’ roll type of girl” was how Tom Pecheux, working for MAC Cosmetics, described his makeup look for Edun’s collection.

Using his fingers, Pecheux prepped the skin with MAC Comfort Cream Mineralized Moisture SPF 15 to provide natural coverage. To showcase the cheekbones, he used Sculpt and Shape Powder in Bone Beige. “I don’t think it’s about the makeup, “ said Pecheux. “I think it’s about the cool girl attitude on the runway.” To complement that attitude, Pecheux applied Feline Kohl Power Pencil to the outer corner of the eye in a “v” shape to connect the top and bottom lashes. Mineral Rich Lipsticks in Posh Tone and Luxe Naturale were applied to the lips.

“The inspiration for today is model’s day off,” said James Pecis, lead hairstylist for Bumble and bumble. Pecis added a couple of hair extensions and applied Bumble and bumble’s Thickening Spray to each model’s hair to create a consistent texture. Pecis also used the humidity from backstage to shape the hair.
To finish off the look, Essie’s nail polish in Jazz was applied to the each girl’s nails.

Source: stylebistro.com, wwd.com

 

[flyme2themoon]

Rodarte
Makeup: James Kaliardos
Hair: Odile Gilbert
Nails: Michelle Huynh

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More Dungeons & Dragons, Less Kim Kardashian, Backstage At Rodarte
September 12, 2012

“A modern-medieval face” is what the tip sheet James Kaliardos was passing around to his team backstage at Rodarte said, but there was more to it than that, of course. “The collection feels Dungeons & Dragons to me, not Joan of Arc,” Kaliardos elaborated, referencing the austerity of old religious paintings and “getting rid of the Kim Kardashian look—forever.”

That meant skipping those familiar, heavily bronzed contours and focusing instead on a paled-out complexion that was treated with NARS Skin Optimal Brightening Concentrate and a light-handed application of its Sheer Glow Foundation just in the center of the face, “because once it gets on the cheeks, it actually looks like foundation,” according to Kaliardos. There wasn’t much visible product on the face at all, really, save for NARS’ Triple X Lip Gloss, which was swathed onto mouths and eyelids and applied through girls’ brows as well, including show-opener Jessica Stam’s. “Can you fix me,” Stam beseeched Kaliardos, who added a little fullness, too, at the model’s request.

Odile Gilbert was working off the proportions of Kate and Laura Mulleavy’s designs. “When they showed me the clothes, I thought [the girls] needed something long,” Gilbert said, referring to the hair, which she made “strict and straight” to accommodate a dragon earring cuff clipped onto models’ left ears. “It’s like the girls are shaved,” she explained, slicking strands with Kérastase Ciment Thermique for a pre-blow-dry polish, and dividing them into three sections: two in back—one hanging straight down over the other—and one in front, which was combed all the way over to one side and coated with its Elixir Ultime for added shine.

The finishing touch came from the most conceptual neutral nail we’ve seen this week. “It took 200 man-hours,” CND manicurist Michelle Huynh said of the three-dimensional polish-on-polish basketweave tips that showcased a blended base of its varnishes in Desert Suede and Frosting Cream. Nude, it turns out, doesn’t necessarily mean boring.

The Nails That Were Built With 200 (Wo)man Hours
September 12, 2012

As we stagger through day six of New York fashion week, the nude nail—or no nail—movement is gaining steam with each passing show. But that hasn’t stopped the industry’s nail artists from flexing their creative muscles. Michelle Huynh’s spiel at Rodarte yesterday started much like many similar spiels have gone since the weekend. “We created a base with two coats of Frosting Cream and Desert Suede, which we followed with a glossy topcoat,” the CND manicurist began. But it ended quite differently. “Then we mixed those two colors with Chocolate Milk, painted a piece of wax paper, let it dry, and topped that with a matte topcoat,” she continued—at which point our ears perked up. “We cut the paper into strips,” she explained, demonstrating how the microscopic slivers were then crisscrossed on top of the nail and glued down by another coat of the band’s Super Shiny Topcoat, which was slicked on underneath the paper pieces, not on top of them, so there was a “glimmer” from the different textures playing off one another when models walked down the runway. Not your average nude nail, to be sure.

Source: style.com, stylebistro.com

 

[flyme2themoon]

DKNY
Makeup: Charlotte Willer
Hair: Eugene Souleiman
Nails: Dawn Sterling

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September 9, 2012
Backstage at DKNY Spring 2013

Relaxed, easy beauty was the order of the day at DKNY. Eugene Souleiman, working with Wella at the show, created hair that was “fresh, chic and controlled” on the top and more textured toward the ends. Souleiman began by doing a deep side part and spraying the hair with Wella’s Perfect Setting at the roots, blowing the top of the hair dry to a smooth finish. Next, he took a small section of hair from the front, tucking it behind the ears. Souleiman then gathered the hair from the nape to ends and held it in a French twist while spraying it with Wella’s Ocean Spritz. He released the hair and dried it with a diffuser for a tousled texture from nape to ends.

Charlotte Willer, working with Maybelline at the show, aimed for “a polished, natural look — she’s an active girl who’s going from sports to work to out at night.” Willer first perfected skin with Maybelline’s Dream Fresh 8-in-1 BB Cream, adding Dream Lumi Touch to conceal skin imperfections. After applying three coats of black Mega Plush Mascara, Willer applied Maybelline Baby Lips lip balm from lash line to brow to catch the light.Next, she applied Fit Me powder in the t-zone for polish, and on lips used Maybelline’s Totally Toffee or Born With It lip color for a natural look. She added a touch of Baby Lips on top of the lip color to catch the light.

Dawn Sterling, doing nails for Essie at the show, used one coat of Fed Up, a sheer nude, on nails, finishing with Good to Go fast-dry topcoat.

Source: stylebistro.com, wwd.com

 

[flyme2themoon]

Donna Karan
Makeup: Charlotte Tilbury
Hair: Eugene Souleiman
Nails: Marian Neuman

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September 10, 2012
Backstage at Donna Karan Spring 2013

Charlotte Tilbury, working with MAC Cosmetics at Donna Karan, made eyes the focal point for beauty at the show. “It’s a blank canvas with a sci-fi, modern feel,” she said. After covering the eyelid with concealer, Tilbury used a magenta MAC lip pencil to line all around the eye, stopping about two-thirds from the edge of the eye on top and bottom. Next, Tilbury brushed MAC’s Process Magenta Chrome on lashes as mascara and bleached eyebrows. MAC’s Face and Body Foundation was used to mattify the center of the face, and MAC’s Politely Pink lipstick finished the look.

Eugene Souleiman, working with Wella at the show, created a very textured, not-too-perfect updo. “This is what modern hair should look like,” he said. “It’s organic and has attitude.” Souleiman spritzed roots with Wella’s Ocean Spritz, blasting roots with a hairdryer. Next, he took sections from each side of the hair and made them into ponytails, which he knotted together, then tucked in. Using a blowdryer, Souleiman sprayed hairspray into the flow of the air — “It’s a great way to diffuse the spray but still make it hold,” he said — and added a bit of Perfect Setting for shine. Headbands finished the look.

Nails, by Marian Neuman for MAC Cosmetics, were a mix of Quiet Time, a dark taupe, with Cream Delicate, a pale pink, layered over it. “The objective was an expensive beige,” noted Neuman.

Source: stylebistro.com, wwd.com

Purple liner and pink lashes never looked so cool... and somewhat creepy (partly due to the bleached brows).

 

[flyme2themoon]

Ralph Lauren
Makeup: Tom Pecheux
Hair: Guido Palau

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September 13, 2012
Backstage at Ralph Lauren Spring 2013

Argentine gauchos crossed with all-American Ralph Lauren girls inspired the makeup at the designer’s show Thursday morning. “She’s glowy and sophisticated,” he said. After prepping skin with Estée Lauder’s Idealist and Daywear skin care products, Tom Pecheux — who is creative makeup director for the Estée Lauder brand — applied Lauder’s DoubleWear foundation. Next, he turned to the eyes: skipping mascara, he grabbed a black Lauder eyeliner and lined eyes from the middle of the eye to the edge, making the line thicker as he moved along, but without a wing. Estée Lauder’s Flower Power blush was applied to the cheeks “to satin the face,” and then Pecheux mixed the blush with lip balm and dabbed it on the mouth with his finger.

Guido Palau, working with Redken at the show, created a classic chignon. “About 90 percent of the girls are wearing hats, so the hair is sort of second-fiddle to that,” said Palau. He started with a center part, then blew hair dry with Redken’s Satinwear 02 blowdry spray. Next, he applied Redken’s Fashion Works 12, a working spray, in the hair and pinned hair at the nape of the neck. He finished with an application of Redken’s Shine Flash 02 Glistening Mist for shine.

Source: wwd.com

 

[flyme2themoon]

Badgley Mischka
Makeup: Tom Pecheux
Hair: Peter Gray
Nails: Deborah Lippmann

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September 11, 2012
Backstage at Badgley Mischka Spring 2013

Mark Badgley and James Mischka were inspired by the sets and cinematography of Max Reinhardt’s 1935 film “A Midsummer Night’s Dream” this season. To interpret that for the runways, hairstylist Peter Gray for Moroccanoil designed an intricate braid hidden underneath the back of the hair. Sides were kept smooth and flat with a defined side part so that a large sweep of hair fell to the one side and back over the other. Additionally, small flowers were used as an accent. “We’re not trying to create a trend, we’re trying to create an expression,” said Gray. Out in October, Gray used Moroccanoil’s new Oil Volumizing Mousse to dampen the hair. He then applied Moroccanoil Treatment to restore damaged hair and split ends.

When speaking about the makeup look for Badgley Mischka’s spring collection, Tom Pecheux, lead makeup artist for MAC Cosmetics, described it as a virgin goddess lost in the woods. Pecheux stressed the importance of prepping the skin when achieving this natural appearance. Using a moisturizer, MAC’s Complete Comfort Cream and Studio Sculpt Foundation, he made the complexion appear flawless. To attain the look of innocence, Pecheux lined the inside of the eyes with white pencil and washed the eyelid with Sunshine Cream Eyeshadow. “The yellow eye shadow catches the light in an amazing way,” said Pecheux, “I wanted the eyes to appear very bright and open.” To top off the look, lips were dabbed with MAC’s Posh Life Mineralize Lipstick.

As soon as nail artist Deborah Lippmann saw the clothes, she envisioned a modern neutral nail to complement the muted pastels within the collection. Lippmann used a creamy mauve called Modern Love. “I was really excited to use this color, because to me mauve is the new nude,” said Lippmann, “We’ve done our sheer pinks; we’ve done our beiges; we’ve done our opaque flesh; we’ve done our greys and now mauve is the new nude.”

Source: wwd.com

 

[flyme2themoon]

Joy Cioci
Makeup: Uzo
Hair: Tommy Buckett
Nails: Candice Manacchio

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September 11, 2012
Backstage at Joy Cioci Spring 2013

“The Twenties meets mermaids” was how Uzo, lead makeup artist for Nars, described the makeup look for Joy Cioci’s spring collection. The part-vintage, part-fantasy take on the Twenties mermaid was achieved within the eye makeup and the lips. To keep it modern, Uzo highlighted the skin with silver elements. Shades of ocean blue adorned the eyes and an exaggerated baby pink lip was enhanced on the cupid’s bone.

Hair, by Tommy Buckett for Marie Robinson Salon, was formed into a low bun. On the nape of the neck, finger waves were added above the bun to resemble synchronized swimmers from the Twenties. For a strong hold, Buckett used a water-based product by Garnier called Pure Clean Gel. Half of the models wore rhinestone and lace swim caps to complement the collection.

Nails, by Candice Manacchio for CND, created an elongated nail shape, with an iridescent caviar finish.

Source: wwd.com

 

[flyme2themoon]

Nanette Lepore
Makeup: Max Delorme
Hair: James Pecis

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Posted on September 12, 2012 2:52PM by Maria Del Russo

Even though they left the beauty in the hands of professionals at Nanette Lepore, the hair and makeup were meant to look like the models were preening themselves. And this time, the techniques were so easy to do, they probably could have.

The look: Bold pastel eyes, a textured ponytail, and flesh-toned polish.
The inspiration: A postmodern picnic.
Who would wear it: The ponytail fanatic looking for a funky take on the undo.

Nails were kept flesh-colored and painted in MAC's Coffee Break or Skin ($16 each), depending on the models' skin tone.

Key makeup artist Max Delorme, working with MAC, set out to create a makeup look representative of a fun girl, but one with a bit more of an edge. Models wore a high-contrast eye that was the focal point of the entire makeup palette. He dubbed it "punky sexy."

Delorme paired a creamy black eyeliner with a bright pastel — either salmon, lavender, or green. "It looks like the girl knows nothing about makeup," Delorme said. "She puts a black line from corner to corner, blends it with Q-tips, and then draws the pastels on top."

The final result was an interesting blend of bad girl and sweetie pie, with the heavily textured hair playing nicely with the pastel and black eyes. "It's supposed to be a power girl, not a cute girl," Delorme explained

Source: stylebistro.com, wwd.com, bellasugar.com

 

[flyme2themoon]

Christopher Kane
Makeup: Lucia Pieroni
Hair: Anthony Turner

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LFW: Christopher's Girls
17 September 2012

"IT'S something a bit different for Christopher Kane, something refreshing," said TIGI's Anthony Turner of the slick, low-tied ponies he and his team created for the show this afternoon.

Using TIGI Catwalk Session Series Wet-Look Gel in sections through the top of the hair, he used a wide-toothed comb to pull hair back into ponies fastened with simple black bands, ironing out the lengths for a sleek, no-nonsense finish.

"I think Christopher liked the idea of the girl having just stepped out of the shower and quickly tying her hair back herself," Turner told us.

Meanwhile the beauty look could only be described as luminous, with Lucia Pieroni using NARS' Illuminators in either Orgasm or Copacabana to create "a beam of light all of the way down the front of the face", offset by black liner between the bottom lashes and on the water line. Beautiful.

Source: wwd.com, vogue.co.uk

 

[flyme2themoon]

Temperley London
Makeup: Val Garland
Hair: Malcolm Edwards

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September 17, 2012
Backstage at Temperley London Spring 2013

LONDON — The starting point for Temperley London’s spring 2013 catwalk show was “Fifties couture, and Fifties starlets like Grace Kelly and Sophia Loren,” said Val Garland, the makeup artist working with L’Oreal products.

She created creamy skin, using BB Cream and added a flicked-out black eyeliner. “We made the line slightly thicker than a true Fifties eyeliner, and the flick slightly blunter, which gives a more modern feel," Garland said.

Malcolm Edwards created the hair using L’Oreal Tecni Art products. He divided hair into two sections, with the back section swept up in a high ponytail and twisted into a bun. The front was tonged and given texture with Texture Tonic, then styled in such a way as to extend the bun in a soft form down towards the face, ending above one ear.

“Everything about this look is elongated,” Edwards explained.

Source: wwd.com

 

[flyme2themoon]

Jonathan Saunders
Makeup: Lucia Pieroni
Hair: Paul Hanlon​

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Jonathan Saunders’ Big Night-Out Beauty
September 17, 2012

“Seventies disco punk” was where makeup artist Lucia Pieroni firmly placed the makeup look backstage at Jonathan Saunders, confirming our suspicions that the designer’s woman had loosened up from her more precise, uptight beginnings. “It’s the day after a big night out,” Pieroni elaborated, cuing up a requisite lived-in liner look of the day-old variety.

Giving skin a “gorgeous, dewy finish” with highlights courtesy of luminescent shades of MAC Cream Colour Base in Luna and Hush, Pieroni relied on her trusty MAC Eye Kohl in Smolder, a rich black, to rim lids, slicking on a touch of grease and smudging the line with her fingers. The pencil was also used in between lashes, instead of mascara, to enhance the undone feel. Added to this was a stamped-on bordeaux lip, which Pieroni created with a deliberate etching of MAC Lip Pencil in Burgundy, a rich wine hue that she was adamant about keeping in the center of mouths, rather than traced around the edges. “Keep [the lips] heart-shaped and perfect,” she instructed her team, adding a dollop of clear gloss in the center of pouts, right before models hit the runway.

“She’s a bit dangerous and has attitude,” Paul Hanlon elaborated, repurposing the D-word that guided him through much of the New York shows. Spritzing hair with L’Oréal Studio Matte & Messy Salt Spray through the mid-lengths, Hanlon worked the product through the ends with his fingers and a diffuser to bring a natural movement to the look. Random sections were given a gentle wave to keep them from appearing too uniform. Then, coating his hands with L’Oréal Studio Silk & Gloss Straight Cream, Hanlon swept side parts over to the left, sculpting them over one eye to add “mystery.” Elnett Diamond Hold & Shine Hairspray kept strands in place and flyaways at bay.
—Skye Delap
Photo: Getty Images

Source: style.com