Thinking Pink, Backstage At Donna Karan
One look at the makeup backstage at Donna Karan transported us to another show entirely, as an immediate déjà vu of Pat McGrath’s hot pink eyeliner and eyelashes at Dior Couture set in. “It gives you intensity of color and graphicness of form,” Charlotte Tilbury said of the technique, which she repurposed as a juxtaposition to all the muted reds, golds, blues, and greens in Karan’s collection. “It’s sunrise, sunset,” the face painter elaborated of the clothes’ dégradé pastel palette, which was meant to reference the light progression over a day’s time (not the Fiddler on the Roof refrain, lest you be confused).
Starting with a blank canvas of MAC Face and Body Foundation mattified with powder in the T-zone, Tilbury drew a blocked-off wing using its Eyeliner in Magenta, dipping a brush into a MAC Chromacake in the same color to paint top and bottom lashes a shade of hot fuchsia. Nails were given two coats of a custom-mixed nude varnish composed of MAC Nail Lacquer in Quiet Time and Cream Delicate, while brows were bleached to keep eyes the focal point of the look (much to models’ dismay).
Eugene Souleiman subsequently pulled hair up to accommodate a series of frosted Perspex headpieces designed by Stephen Jones, although the Wella Professionals global artistic director added his own “romantic, dark-tragedy twist” to the equation. Using the brand’s Ocean Spritz Beach Texture Spray to give strands a shine-free, naturally gritty quality, Souleiman folded a ponytail onto itself to make a flat panel in the back of the head, building “spiky, sharp shards” in the front by setting floating wisps around the hairline with hair spray. “It’s a little bit off,” he decided.