Makeup Artist Lucia Pica Takes Us Inside The Cover Look Of Style.com/Print Issue 04
After a full month of shows and three intense weeks of production, the fourth issue of Style.com/Print is here! And as our biannual glossy starts populating newsstands across the globe, it will become increasingly difficult to escape the lasting image of Ellinore Erichsen’s deep, kohl-rimmed cover glance, which is thanks to the magnificent handiwork of one Lucia Pica. “Ellinore was supposed to be more of a rebel—a cool goth-y girl in the school,” the makeup artist explains of the direction for the story, which took us inside Christopher Kane’s high school in Scotland to get a real glimpse of the environment from where his genius came. Here, photographer Alasdair McLellan’s go-to face painter explains the ins and outs of the on-set creative process, how to get Marta Dyks’ killer spider lashes, and what makes a rule breaker where makeup is concerned.
What was it like working with Alasdair and Christopher on this story, and how did you come up with the idea for the makeup look?
“Normally, you talk about the story and interpret it. For this, it was all about Christopher’s background. We went to his school and a music hall, so we wanted to represent two girls. One of them, Ellinore, was more of a rebel—a cool goth-y girl in the school—and that needed to translate throughout the story, so I kept the smoky eye, and then when we moved locations and switched outfits, I gave her more of a goth look, with a dark matte mouth. Marta was more of the wide-eyed, natural-beauty kind of girl in the group. Working with Alasdair for so long, I know the things he’s attracted to, and I really relate to his aesthetic. We always have to be open to changes, though; it works or it doesn’t. Funny enough, we did this makeup, and we weren’t sure if we had done too much, so we took it off and tried a few different things, but then we went back to it!”
I can see why. Ellinore’s smoky eye is beautiful. How did you get just the right amount of smolder without going overboard?
“I really wanted it not to feel too glamorous. But when I say, ‘organic,’ or ‘homemade,’ I don’t mean not well done—just more lived-in and less technical. So I used a black Givenchy Magic Kajal Eye Pencil, and I blended it around the eye and mixed it with MAC Eyeshadow in Smolder. Then I added a little Vaseline to make it balmy. Another good feature to give it that gothic tint was the thin brow. I used MAC’s Eyebrows in Velvetone. Then we put loads of mascara, like when rebellious teenage girls put a mountain of mascara on and it looks amazing and you’re like, ‘How did they do that?’ “
Ellinore’s superclean skin makes the eye stand out that much more. How did you prep her complexion so it looked so, well, perfect?
“There had to be a real element to the girl, considering the story we were trying to tell. It’s not someone who goes and puts highlighter on and mega-contours and blusher. I used the Chanel Hydra Beauty Serum as a primer, then I mixed Sisley’s Hydra Global Intense Anti-Aging Hydration moisturizer with a little oil, the Organic Pharmacy Rose Hip Oil, because I think when there’s a little bit of oil on the face, it blends better with concealers. I used a very thick concealer from Estée lauder—and no foundation—so it covered enough but didn’t sit on the skin. Then I put a little [Lucas'] Pawpaw Ointment on the cheeks to pick up the light without [more] makeup.”
Marta Dyks’ spider lashes also really stand out in the spread. How did you manage to make them look more punk and less sixties?
“The way I do it is to put a lot of YSL Volume Effet Faux Cils mascara on first, and then use Chanel Inimitable Intense Multi-Dimensionnel Mascara to coat individual lashes. The YSL is not as defining as Chanel’s Inimitable, so it gives you a good feathery base; the Chanel picks up on the longer lashes to really build. Then I use a cotton swab to spread it and make sure it goes in between each lash.”
You covered quite a bit of ground for Fall, working backstage at shows like Ohne Titel, Roksanda Ilincic, and Peter Pilotto. Are there any trends you are seeing for the season, or things you’re hoping to see?
“The thing that struck me the most about the makeup for Fall was that it was more atmospheric—it wasn’t too structured or defined. It was more about creating a mood. At Roksanda, we created haunted girls with rusty browns, and at Peter Pilotto it was about different types of shines. At Ohne Titel, it was all about the contrast of glassy eyes and a really matte lip. The contrast was enough to be striking without overdoing it. I feel like I know that balance—the balance between something beautiful and subtle with strong elements.”
In your opinion, what makes someone a beauty “rule breaker?”
“I think doing what you love and respecting your instincts is all it takes. It’s also important to be receptive. A lot of good things and good looks come from mistakes. It’s great to have a strong idea to start with, but you also need to be able to adapt, because something great might happen.”