Sophia Loren Goes to the Theater, Backstage at Dolce & Gabbana-------
It seems that Domenico Dolce and Stefano Gabbana’s love affair with Sicily and Sophia Loren will never end (and Spring 2014 is no exception), but what an exquisite relationship it has been on the runway. “Even though it’s soft, romantic, and cherubic, it’s still Sophia Loren—but this time she’s in a Greek theater and it’s sunny and hot,” Pat McGrath said of the muse, alluding to yet another reference for this season’s show, Federico Fellini’s 1969 film, Fellini Satyricon. To lend an instant glow to skin, McGrath applied Dolce & Gabbana Make Up Perfect Luminous Liquid Foundation in a shade slightly warmer than each model’s skin tone. For a Fellini-esque flush, three shades of Luminous Cheek Colour (Rosebud, Apricot, and Peach) were swirled together and dusted on the cheeks, chin, hairline, and brows. To pick up on the plethora of precious metals in the collection—including a finale entirely composed of shorts, dresses, and separates made of metallic lace—a blend of yellow- and rose-gold hues from the Smooth Eye Colour Quad in Golds and Desert was applied to lids, with a slightly deeper beige blended into the crease and rimmed along the lower lash lines. To highlight cheekbones, McGrath used the gilded side of the Smooth Eye Colour Duo in Fortune, then wet a small brush and dabbed the pigment on the inner corners of the eyes to catch the light. Since it wouldn’t be a Loren look without at least a hint of a cat eye, a tiny wing was made on the outer corners with a chocolate brown pencil and topped with Intense Liquid Eyeliner in Baroque Bronze, while a nude pencil was run along the lower water lines for pop. Lashes were coated with PassionEyes Mascara in Terra and a brow pencil (a forthcoming launch from the label) was used to fill in and flesh out arches. Classic Cream Lipstick, in Bellissima and Traviata (out for Spring 2014), was mixed on the back of McGrath’s hand and pressed into lips for a subtle, stained effect.
The hair—a softly braided chignon pressed flat against the head—harked back to the styles often worn in ancient Rome, said backstage fixture Guido Palau. To prep strands for these un-stuffy updos, he misted Redken Guts 10 for texture and Powder Refresh 01 to take away any shine. The top half was curled using a half-inch barrel, the sides gently twisted back and secured near the middle of the head. Next, the length was gathered into a singular braid, coiled, and pinned into place. And when in Rome (or at least keying a show inspired by it), one should do as the Romans do, which for Palau meant tucking the exquisite embellishments crafted by the house—such as coin-encrusted headbands, jeweled combs, and feminine flora—throughout. To finish, he tugged pieces around the front to loosen up the look and create a soft halo of fuzz around the face. The look, he elaborated, contained “all the things a girl wants to be at some point” (think Italian goddess meets femme fatale meets modern-day jet-setter). And indeed it did, at least for this girl.