Marianne Faithfull Meets Joan Jett, Backstage At Marc Jacobs
Upon arriving backstage at Marc Jacobs, editors were herded into a small white room turned molten orange with a smaller version of the Olafur Eliasson-inspired “sun” that Jacobs used in his show. The point: to illustrate how the makeup that François Nars designed for the occasion worked in the sepia tone and the regular light when the effect was turned off. “We needed something that would look good in both,” he confirmed of the purposefully black-and-white design.
“We looked at a lot of reference pictures of Marianne Faithfull and Joan Jett,” Nars said, speaking to the “underground, rock ’n’ roll” quality of the heavily rimmed eyes that he lined with his Eyeliner Pencil in Black Moon before topping that with the forthcoming Eye Paint in Black Valley and his Eyeshadows in Pandora and Bengali. The inner rims were traced with a pure white pigment to create a wider appearance, while lashes were treated to multiple strokes of his Larger Than Life Volumizing Mascara. “This is the way Marc likes his models,” the makeup artist continued, working on a perfectly matte complexion using NARS Radiant Cream Compact Foundation. “I didn’t want any shine,” he explained, as not to pick up a streaky pallor from the light—except on lids, which got a slick of his Triple X Lip Gloss before models hit the catwalk. Arches were groomed and filled in with Nars’ Brow Perfector in Kalamata, a dark brown, so they were still a visible force beneath models’ uniform fringe. “We’re making them all brunettes,” he joked.
Although it was Guido Palau, in reality, who was turning every model a shade of chestnut in varying degrees of darkness. Palau was a bit less forthcoming with his reference points, calling out “cool girls” in the nineties, an old Kim Pierce Vogue Italia shoot, and the model Edie Campbell, whose hair he cut short for an editorial back in November. But to be fair, the Redken creative consultant was swamped. While all fifty-five wigs were cut before the show, Palau hand-shaped each one with a razor, on every single model, to tailor it to their head and face shape. To get the “raw, real” texture he was after, he prepped the hairpieces with Redken Guts 10 Volume Spray Foam to create a “choppy, spiky” effect before adding a few concentrated spritzes of its Shine Flash 02 Glistening Mist for a wet-looking finish. “[I wanted it to have] a sweaty feel,” he said, placing a wide black band on top of freshly trimmed bangs. The models, who had assembled backstage at the Armory a cool six hours before showtime, seemed to dig it. “I’m thinking maybe a mullet next,” hair chameleon, and Jacobs’ muse, Ruby Jean Wilson exclaimed.