“Tecno-Butterflies” Spread Their Wings, Backstage At Dior
Raf Simons’ debut ready-to-wear collection for the house of Dior will be remembered as a triumph of a new kind of glamour-infused modernism, a good portion of which came in black, white, and navy. Its flashes of fuchsia, orange, yellow, and a vibrant green were less ubiquitous, although they were plenty present when it came to conceiving the beauty look here. “He brings fabrics,” McGrath says of her pre-show meetings with Simons, which have already amounted to one outstanding face-painting effort that saw the legendary makeup artist play with a similar color palette, reimagined as elongated cat-eyes and pigment-dusted eyelashes at Simons’ Couture show in July. “And then we talk about the girl. His girl loves makeup”—specifically eye makeup that manifest itself as Spring’s “techno-butterflies,” as McGrath tells it, replete with squared-off splashes of bright creams topped with shadows that were dragged across lids and accessorized with Swarovski crystals, lots of them. “There were 55 girls. We started beading at 8:30 in the morning [for a 2:30 show],” she explained of the individual hand designs that were assigned to each model. “Once you’ve done that, you don’t really need anything else,” she continued of why skin and lips were left bare and hair was pulled back into sleek, low-slung ponytails at the hands of Redken creative consultant Guido Palau. The one extra touch McGrath did add was a thin black brushstroke along the upper lash line and a few swipes of black mascara to provide definition to her place-and-paste bedazzling effort. Do try this at home.