Backstage At Marc Jacobs, The Beat Goes On
Marc Jacobs is a man known for his statement-making abilities, and he sure made one before his show even commenced: no press allowed backstage. We were bummed not to be able to witness the beauty wizardry of François Nars and Guido Palau firsthand, but if a flurry of press (scratch that; more like a hailstorm) was going to interrupt Jacobs’ magic-making, far be it from us to stand in the way. And magic it was, as usual.
After last season’s slick, dominatrix high ponytails, Palau created the complete visual antithesis for Spring. Taking a cue from the 1969 Bob Fosse gem Sweet Charity, the goal was a sixties girl who had been out dancing all night. Prepping hair with Redken Satinwear 02 Ultimate Blow-Dry Lotion and then rough-drying for texture, Palau gathered lengths into an easy twist. In a literal nod to Shirley MacLaine’s portrayal of the titular taxi dancer, Palau also affixed irregularly chopped faux bangs and sideburns, which peeked out from beneath top-knotted bandannas.
Nars was also feeling the Fosse vibe with a few extra nods in the directions of crooners Patsy Cline and Amy Winehouse, as well as the heavy-lidded beauty featured in Sam Haskins’ photography book Cowboy Kate. That translated to naturally luminescent skin, flesh-toned lips, and seriously strong eyes. Forgoing foundation all together, Nars opted to dab on his eponymous line’s forthcoming Pure Radiant Tinted Moisturizer for a dewy effect without a trace of additional face color. “Eliminating blush gave the girls a strange, otherworldly effect,” Nars explained. As did applying—count them—three pairs of strategically cut false lashes. “It made the eyes look really full along the outer corner, very decadent,” Nars added. A generous slashing of NARS Via Veneto Larger Than Life Long-Wear Eyeliner and its Volumizing Mascara added even more visual oomph. Brows were darkened to frame the heavy lashes and lips were painted nude with NARS Pure Matte lipstick in Madere topped with its aptly named Striptease Lip Gloss. “There was no color,” Nars said of his purposeful omission of brighter pigments. “When you looked at the girls it was like looking at a black-and-white film.”