The plait that captivated many a designer (Adam Selman, Simone Rocha, and Sarah Burton of Alexander McQueen among them) for Fall 2014 shows no sign of stopping: Cornrows made an appearance at Kenzo’s Resort show yesterday, alongside oversize hoops on select girls (an accessory seen at Balmain a few months back). They’ve also been spotted recently on the likes of Queen Bey, Rita Ora, Cara Delevingne, and Kristen Stewart. The braid with serious street cred that stems back to the Stone Age even showed up in our latest feature. For those of us who are all thumbs, we suggest finding a dexterous friend or enlisting the help of a pro.
The sun came out for Stella today, as this morning’s downpour didn’t exactly make for a good garden party, the setting for the designer’s Resort presentation. And backstage the beauty was just as bright. Makeup artist Vincent Oquendo created three different lash looks in royal blue, forest green, and—on four select girls—a combination of both colors. It’s not the first time we’ve seen fantastic fringe from McCartney: Clumpy cobalt lashes made a serious statement on her Fall 2012 runway. And lucky for Oquendo, he happened to be on the team (led by Pat McGrath) that devised those spidery blue eyes.
Today, however, he crafted his own vibrant mascaras by mixing gel liners from MAC Cosmetics—combining Fluidline in Waveline with Chromaline in Pure White to make the perfect navy; and Chromaline in Landscape Green, Marine Ultra, and Pure White to cook up the ultimate emerald. Next, he painted his bespoke blends onto the top lashes with a clean mascara wand, working the product into the roots to build a strong base before pulling the pigment out toward the tips. “You need to have a good foundation so that your lashes don’t wilt,” he explained. Oquendo layered “at least” three coats near the lash line, then went back in with more color and combed it through to the ends—strategically separating the hairs for a “feathered” effect.
To allow the eyes to take center stage, the rest of the maquillage was kept relatively simple. Face And Body Foundation provided a seamless and dewy canvas, while a combo of Cream Colour Base in Pearl and Luna (Hush for models with darker complexions) was used to highlight around the tear ducts, the center of the lids, cheekbones, cupid’s bow, and chin. For even more sheen, All Over Gloss was dabbed lightly onto the lids. To finish, Oquendo reached for Cremeblend Blush in Brit Wit and Posey—applying both shades to apples and lips for a fresh flush.
“I used to wear blue mascara in high school,” noted catwalker Devon Windsor of the colored-lash comeback. “I like that you can’t really see it until you’re under a bright light, so you could actually pull it off every day.” We like the sound of that, too.
“This makeup is for the girl that’s always twenty minutes late to the party—it’s not perfect or precise,” explained Vincent Oquendo, the pro behind the look at Marc Jacobs’ Resort show. In other words, this girl is me: forever late and always thrown together. The expertly smudged eyes and effortless glow seen at today’s intimate presentations, however, are a bit beyond the ten-second concealer-mascara-lipstick uniform I typically plaster on while simultaneously ordering an Uber. But after chatting with Oquendo, I realized that getting this fete-ready face at last minute isn’t necessarily out of the range of possibility.
He began by prepping models’ complexions with Marc Jacobs Beauty Genius Gel Super-Charged Foundation, then gently contoured cheeks with O!Mega Bronze in Perfect Tan. Apples were topped off with a blend of Shameless Bold Blush in Naughty (a “soft, almost nothing” pink) and Obsessed (a “pinched and peachy” pink). “There were a lot of bows in the collection—I wanted to keep it young,” he said. “She has life; she dances; she gets flushed in the cheeks.”
Seeing as Oquendo’s muse was not exactly a put-together party girl but more “that rock-and-roll chick who drank a little too much the night before,” the liner was designed to look like it was leftover and haphazardly touched up—reminiscent of Kate Hudson’s character in Almost Famous, Penny Lane, he noted. To achieve this, he based lids with a taupe shadow and the lower lashes with a darker, matte brown. Next, the house’s Highliner Gel Eye Crayon in Blacquer was applied in reverse, starting from the outer corner and working in and around the inner water line on top and bottom. “I wanted it to be a rounder shape—if you go from the inside of the eye out, you’re more likely to get a point,” he said. For a broken-but-still-beautiful finish, Oquendo liberally applied the liner along the upper rim and let the color “bleed onto the lashes,” patting the pigment in lightly with his fingertip to gently “destroy” it. For even more definition, he coated lashes heavily with black mascara.
To complete the next-day aesthetic, the pro added a hint of “grease.” He used the same gel eye crayon formula in N(ice), a silvery hue, around the tear ducts, then mixed it with foundation a shade or two lighter than each model’s skin tone to create a highlighter for the bridge of the nose and cupid’s bow. Arches were filled in with the same neutral shadows used on the eyes and brushed up with a generous amount of Brow Tamer Grooming Gel to make them appear “wet.” Lovemarc Lip Gel in Understudy, a pinky nude, was dabbed onto lips to lend a subtle sheen.
Next time I’m invited to the “after-party for some incredible rock concert” (the scenario Oquendo had in mind) or just spur-of-the-moment summer cocktails, at least I’ll have my makeup already figured out.
Nicolas Ghesquière’s “game of colors” for Louis Vuitton’s Cruise collection was complemented by not one, but four eyeshadow shades—one being selected to suit each model that took to the runway. “It was about celebrating each girl’s beauty—it wasn’t a makeover or anything like that,” noted makeup pro Pat McGrath, who smudged a lustrous blue, gray, burgundy, or khaki green pigment around each catwalker’s eyes and into the socket with a damp brush, then defined lashes with black-brown mascara. “When you think of shimmer shadows, you usually think of a party or strong beauty, but this [look uses] those shimmer shadows in a much more modern, simple, bare way,” she explained. While the gray had a hint of silver, the other hues in this season’s palette were injected with gold sparkle to add warmth. A bronzy blush was dusted across the cheeks and chin to finish off the face and lend a “fresh, outdoor effect” (this is Resort, after all). If the glittery lids McGrath created at Dior’s Fall 2014 show or the gold-leaf-adorned smoky eyes that appeared in Dubai for Chanel’s Arabian Night-themed spectacular are a bit too over the top for your taste, the subtle and sophisticated liner at Vuitton should provide you with plenty of flash.
Bigger it seems is often better—at least when it comes to Chanel. And the hair crafted by Sam McKnight for the house’s Resort 2015 show in Dubai was no different. Each season, strands seem to be increasing in length and width—with Spring 2013 offering up flared-out wigs, and Fall 2014 providing grocery store goers with back-grazing, “exaggerated” ponytails “blown up in proportion” with rags of tweed. And for Cruise, models’ hair was taken to new heights—with some sporting an exaggerated Bardot-like bump, and the others a cumulus cloud of corkscrew curls reminiscent of Diana Ross. To achieve the supersized ringlets, McKnight spritzed strands with Sebastian Forte spray, wrapped sections around a curling iron, let them set, backcombed the roots with Oribe Dry Texturizing Spray, and “teased quite a lot.” For the straighter style, the pro plumped roots with L’Oréal Professionnel Tecni Art mousse and blew hair off the face before backcombing at the crown and finishing with a combo of Oribe Dry Texturizing Spray and Sebastian Forte. With gold lamé, light-up shoes, and seventies-inspired hairstyles making their way down the runway, we’d say Karl managed to pump up the volume and throw quite the disco in the desert.