Backstage At Oscar de la Renta, Four Looks Are Better Than One-------
Oscar de la Renta gave makeup artist Gucci Westman and hairstylist Orlando Pita a challenge this season: to create four different hair-and-makeup looks instead of the requisite one. “Oscar’s collection has four very different sections, and we really wanted the hair and makeup to reflect that,” Westman explained backstage, giving every girl the dewy, glow-y skin the Revlon artistic director has become known for, with perfectly highlighted contours courtesy of Revlon’s Illuminance Crème Shadow in Not Just Nudes, before starting in on each different look.
First out was the Faye Dunaway-inspired matte-orange lip, which Westman created by mixing Revlon’s ColorStay Ultimate Suede Lipsticks in It Girl and Front Row. “She has a major mouth,” Westman boasted, pairing the mandarin pout with hairstylist Orlando Pita’s extra-loose ponytails with wispy strands that escaped toward the front, “as if the girls have been running.”
Then came the Kate Moss impersonators—a favorite muse for Westman, who often culls reference points from Moss’ nineties-era heyday. “She’s channeling the nineties with a nude, heavily lined lip,” Westman explained, rimming lips with Revlon ColorStay Lipliner in Natural, before double-timing its Illuminance Crème Shadow in Not Just Nudes as a lipstick. Here, Pita constructed perfectly disheveled waves—a Moss signature.
Next up was the “chinoiserie” section—or “East Asian jet set,” as Westman further described the red metallic lip she created using four different shades of lipstick, depending on the model, including Revlon ColorStay Ultimate Suede Lipstick in Trendsetter and Finale, as well as its Super Lustrous Lipstick in Cherries in the Snow and Cherry Blossom. “There’s a fragility to her pout,” Westman noted as Pita implemented a “lazy loop,” which he finished off with an Oscar de la Renta jewel.
Lastly came the “gypsy girls,” according to Westman, who were meant to look sufficiently travel worn with super-dark smoky eyes and mulberry-stained mouths. “The gypsy girl is almost greasy-looking,” she explained, fashioning a wet dark eye against paled-out skin. “I’m making the eye matte at first, then adding a layer of Revlon’s Super Lustrous Lipgloss in Shine City so lids are shiny just before the girls walk.” The greasy finish extended to the hair as well, as Pita slicked back twenties-inspired finger waves that were matted to the side, as though the girls had started a sophisticated style but never followed through with it. If you caught a glimpse of a technique that Pita and makeup artist Pat McGrath made famous backstage at Christian Dior under John Galliano’s reign, your eyes were not deceiving you. That Mr. Galliano, who recently completed a residency in Mr. de la Renta’s studio, was actually standing backstage to take it all in only served to further the would-be homage.