The Maud Squad, Backstage At Valentino
Sometimes, a model can walk into a fitting and immediately embody the feeling of a designer’s collection—so much so that they want the rest of the girls in the casting to look to just like her. It happened at Marc Jacobs last month and so it went today at Valentino. “We did the test on Maud [Welzen], and she’s got this gorgeous flush, so we decided to mimic her complexion,” Pat McGrath explained of the model that inspired Maria Grazia Chiuri and Pier Paolo Piccioli to keep girls looking “how they actually look” rather than do anything too over-the-top.
Essential to the idea was a cream blush that McGrath applied to the apples of cheeks, a soft brown shadow that she swept across lids and underneath the lower lash line, multiple swipes of brown mascara, and a very specific “fresh matte” skin. “A lot of people don’t want shiny faces anymore,” the makeup artist said, and by “people,” McGrath was of course referring to the laundry list of big-name designers that entrust her with face-painting duties each season (see: Giannini, Frida; Maier, Tomas; Prada, Miuccia; Elbaz, Alber et al.). “When you’ve got HD cameras and sweaty faces, it just doesn’t work,” McGrath rightly pointed out, explaining that she’s been making a concerted effort to powder complexions after she’s applied blush, contours, eyes, and lips for a velvet rather than dewy finish.
Guido Palau was also keeping it real, as it were, with “short side parts” rather than the super-deep sixties styles he’s been partial to of late. Prepping hair with Redken Extreme Anti-Snap Leave-In Treatment to add softness to strands, the Redken creative consultant created “messy knots” that he wrapped with lengths, leaving some ragged ends out for texture and covering the ears ever so slightly. “It’s classic and poetic,” he said of the look—”kind of like Bergman or the Italian Renaissance.” “Womanly” is another word he used, an adjective that couldn’t be more intrinsic to the Italian house.