1930′s Glamour Has Its Day
“Film noir” joined “grunge” and “Kate Moss” as an emerging beauty trend when it inspired makeup artist Charlotte Tilbury at Donna Karan yesterday (and Lucia Pieroni at Vera Wang this morning). “It’s actually Snow White meets Greta Garbo,” Tilbury said of the porcelain skin, dark eye, and bright red lip she crafted using a number of intriguing techniques. She blended her foundation with MAC Cosmetics new Mixing Medium, a shine product due out at the end of the summer that creates an ethereal, waxy glow on skin, which we predict will be a sought-after finish for fall. After creating silver arches on lids by dragging a fingertip-width of steel blue shadow from the inner corner of the eye toward the outer corner, Tilbury devoted her attention to the lips. “No more trout pouts,” she declared, referring to the voluptuous, “vulgar” lips that colored the Spring shows. Instead, Tilbury is advocating a very precise, angled pigment application with careful etchings of a lip pencil (she used MAC’s Cherry here with a few brush strokes of its Lipmix in Burgundy), which she topped with a lacquered gloss for a plasticized shine before the models hit the runway. The shine factor carried over to hair, where Eugene Souleiman was creating low, polished updos using Wella’s High Hair, a sleek setting gel that dries instantly. Wrapping ponytails with chopsticks to create a barrel effect rather than a plain old chignon, he accessorized each style with a black patent-leather headband that sat right at the hairline. “Donna likes a headband,” Souleiman quipped, pointing out that the style was intended as a pared-down tribute to artist Allen Jones’ fetishized mannequins. We’ll keep you posted if that one starts popping up backstage as fashion week rages on.