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A Page Out of Pat McGrath’s Silver Lining Playbook, Backstage At Dior

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The idea floating around backstage at Christian Dior was the notion of “the ultimate Dior woman, seen through a futuristic eye,” according to Pat McGrath—or, more specifically, Raf Simons’ eye. “He wanted to play with the mouths and make them smaller,” McGrath explained of the designer’s request for “faded lips,” which she obliged with a deep fuchsia stain that was blurred around the edges with a finger-pressing of foundation for a “blooming rose” effect. “There’s a nod to the fifties,” she continued of the collection, which also happened to boast Simons’ particular brand of forward thinking that requires a dose of the here, the now, and the what’s to come. How best to translate that into makeup terms? With a classic cat-eye in an unexpected color and shape, shown here in liquid silver, which was not only drawn across the upper lashes into a flick, but also beneath the lower lash line, and in a small stroke on the inside corner toward the crease as well. “It pronounced the eyes more and gave them a new elegance,” McGrath said of the technique.

Guido Palau was hoping to bring an infusion of newness into the hair as well, which had its roots in fifties couture. “Raf wanted more of an uptown woman who was caught in the rain, but we didn’t want it to feel old,” Palau explained, giving the structured, wig-wrap-turned-twist silhouette a very Fall 2013 wet texture with Redken Control Addict 28 High Control Hairspray and its forthcoming Diamond Oil Shatterproof Shine serum. “I still wanted it to feel elegant,” he noted of the saturated style. Done, and done.

Photo: Luca Cannonieri/ Gorunway.com

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