“Christopher [Bailey] has a very clear idea of what he wants—he even chose the specific shade of silver for the actual runway,” said makeup artist Wendy Rowe, putting the final touches on Lily Donaldson’s face backstage at Burberry yesterday. With that kind of clear vision from the brand’s creative director, Rowe’s job was relatively easy. “We took colors from the trenches, like mustard and butterscotch, and just blended, blended, and blended,” she explained of the fresh look she hoped to achieve from alternating strokes of an arsenal of makeup that included face-perfecting weapons from Shu Uemura, MAC, Dior, and YSL. “We didn’t really want one thing to stand out,” she continued, “so it feels light and natural.” Added model-of-the-moment Anna Selezneva: “Normally I don’t feel that comfortable leaving shows in full makeup because it’s always a bit heavy, but this feels like what I would do on a normal day, almost like diet makeup!” The look’s wearability factor certainly fell in line with the collective aesthetic of the show’s very impressive front row. Gwyneth Paltrow, Liv Tyler, Freida Pinto, Victoria Beckham, Emma Watson, et al. seemed to abide by the same cosmetic credo: minimal, unobtrusive, and subtle (see this blog’s Celebrity Looks post below for a further discussion on the matter). “He just knows what he wants, right down to the shade of lipstick,” Rowe reiterated of Bailey. That meant matte, neutral pouts all around. Though Daisy Lowe and her bright red lips apparently didn’t get the memo.
Minnie Mouse acolytes worldwide presumably let out of a collective shout of glee last week when jumbo-sized bows colored the Marc by Marc Jacobs presentation. A second showing at Luella yesterday no doubt sent them into excitement overload. Yes, bows—the bigger the better—appear to be having a moment. In fact, there’s a substantial hair accessories trend in the air for Spring. Designers are crafting ties, clips, and the like to cajole impulse purchases at the register, but their handiwork, as it turns out, is quite duplicable at home. See below for our guide to dressing up your tresses on the cheap.
The key to getting maximum fullness to your bow like the one hairstylist Guido Palau fastened at Marc by Marc Jacobs is making sure that the fabric you tie up in your hair is thinner in the middle then on the ends.
How To: Pick your favorite print, cut out a thick ribbon that is about three feet in length and at its narrowest width in the center, tie, and fan out for maximum impact.
Just Bead It
For her Spring presentation, Carolina Herrera wanted pops of sparkle to peek out of models’ hair, so she fashioned a headband with long strands of opalescent beads, which hairstylist Orlando Pita displayed through loose chignons.
How To: The headband itself should be worn further back on your head than usual, even underneath a top layer of hair to create an element of surprise for the beads. Measure from wherever you place the band to the end of the longest point of your hair and string up strands of your gemstones of choice at that length, gluing them to a thin metal headband as you go. Style accordingly.
The hair at 3.1 Phillip Lim was meant to look like a combination of Lee Miller and “a little girl,” explained Odile Gilbert—simple and clean, but still fresh and beautiful. As such, Gilbert gave all of the models a very deep side part up front and a complex twisted chignon that sat low above the nape of their necks, adorning each section with its own red braided clip to add a “modern and artistic” element to the coifs.
How To: Lim designed his barrettes with leather, but a sturdy string will work just fine. Braid one thick or two thin rows and glue on to a plain silver barrette three to four inches in length to accentuate a part or an updo.
With New York fashion week behind us and the London shows quickly drawing to a close, there have been enough cameos by statement lips of the red, pink, and berry varieties to make a well-stocked collection of lipstick/lip stains compulsory for next season. At yesterday’s House of Holland show, the designer looked outside the box, as he is wont to do, and introduced a glossy cobalt into the equation to round out the dark lavender and fluorescent tomato pouts he also sent down the runway courtesy of makeup artist Lucia Pica. Seeing as how Holland capitalized on the popularity of black lips last season by choosing a midnight purple shade for his presentation, the off-kilter color wasn’t that jarring coming from him. It was, however, a bit of a surprise when it made a repeat appearance at Paul Smith Women—albeit in a more matte, Ceylon incarnation—joined by another round of bright orange-red, a deep wine, and even a lone shade of green. We’d say that the color blue is best left to the catwalk, although who knew the obsidian craze from last year would’ve been such a hit? Perhaps a few MAC Pro Lipmix shades for at-home color blending might also be a worthwhile investment come spring.
London is usually all about goth and edge, but Graeme Black, the great Scotsman who was once head of Ferragamo, is a bit of an outlier. As noted by this site’s fashion reporters, he “doesn’t really do ‘relaxed.” Lucky for us, however, hairstylist Sam McNight does. Playing off Black’s unrelentingly elegant and refined sentiment, McKnight—who has worked his magic on the heads of Linda Evangelista, Kate Moss, Naomi Campbell, Gisele Bündchen, Uma Thurman, Elizabeth Hurley, and Princess Diana—conjured up a backstage look that was as accessible as it was pristine. “The colors and feel of the show—it was all so Maharani,” McKnight explained. “So we used blow-dryers and curlers to create, I guess, a bird’s nest—a loose chignon that looks slightly blown by what could be trade winds in the East. Very sexy, very blustery, and very polished—not hard to do,” McKnight insists. A messy bun for some D.I.Y. Hollywood-by-way-of-Bollywood glamour does sound easy enough to pull off. Do try this at home.
The “skin-finishing product” industry is set to make billions this year, but Sass & Bide’s Sarah-Jane Clarke and Heidi Middleton are keeping it real. While the rest of the pasty-skinned masses slap on a spray tan, bronzer, or body gloss at the faintest imperfection, the Aussie designers seem out to prove that embellishment definitely belongs on clothes—and not on the body. At their Spring 2010 show this past weekend, makeup artist Petros Petrohilos was instructed to leave the limbs alone, despite the cutaway tops and exposed midriffs that hit the runway. The only statement makeup was generous lashings of mascara. “Petros was going for high drama, but in a fresh way,” Revlon’s Nicola Thornton reports. “He let each application of mascara dry and did loads of reapplications—then just flesh-toned lipstick.” The body, however, was bronze- and goop-free. And yes, that did mean that under harsh lighting and being two feet away from the runway, I did spot some moles, a few faint stretch marks, and a spider vein here and there. But in a world where every minute blemish is sprayed, blended, or glossed to death, it was actually liberating to see that a real woman—16 years old as she may have been—does in fact exist, and she is no less beautiful without the cover-up. Would it be so bad if we all put away our spray tans, bronzers, and oils for a bit and let our bodies breathe? Just don’t suggest it to Roksanda Ilincic, whose premiere swimsuit collection, which shows this week, is being sponsored by St. Tropez.