30 posts tagged "Alexander McQueen"
This season, makeup artists reached for all sorts of unconventional beauty tools—dental floss at Anthony Vaccarello, liquid latex at Dior, and feathers at Alexander McQueen—but you’ll never guess where makeup artist Vincent Oquendo nabbed the star-shaped toppings he sprinkled on lids for the March issue of Italian ELLE. While a magician of maquillage never spills his best-kept secrets, he did give me a hint: It’s a sweet-smelling place you go to treat yourself and stray from your diet.
Lashes and cornrows—two of the trends we’ve seen time and again this season—were taken to breathtaking extremes backstage. One could say that pushing things to the max was a signature of the late Alexander McQueen: “This was something Alexander really liked—it feels like a classic code of the house,” said Guido Palau. The never-ending plait dreamed up by the mane master and executed by a team of braiders was no doubt “severe,” but the long, flowing extensions that caught the wind on the runway gave the “silhouette a certain softness.”
“It’s futurism mixed with nature,” Pat McGrath said of the two gasp-inducing looks she devised for the show. “We decided to do the owl world in a punk eye makeup way.” Black spiky feathers hand cut and designed by the face painter were painstakingly glued one by one onto the brows and top lashes. “When would I ever make it easy?” she quipped of the dramatic maquillage that took nearly four and a half hours to complete. Her second creation (worn by the majority of the models) played with shading and light in lieu of plumes—using brick red, silver, and gold metallic pigments to lend a “futuristic” feeling to the face. The end result not only incited a frenzy of flashes from photographers (particularly around the catwalkers with those phenomenal “mothlike” eyes), but also perfectly captured the “McQueen world of innocence, romance, and darkness” with a sensitivity and boldness that won’t soon be forgotten.
Flashback Fridays is a feature on Beauty Counter in which we pore over the pages of our favorite glossies from decades past in search of a little modern-day makeup and hair inspiration.
The Model: Emma Sjoberg
The Moment: Cyborg Headwear
The Motivation: Fashion and beauty aficionados have long been obsessed with the idea of a futuristic world (and what we would wear in it). And as we embark on yet another year, we were inspired by this heavy-metal Thierry Mugler ad from the late ’90s—and instantly reminded of the Tron-influenced silver and gold helmets seen at Alexander McQueen for Spring 2014. We don’t know what the future has in the store, but we hope it involves shiny headgear. Just think, no more bad hair days—ever.
Backstage, there was a lot of airbrushing going on, but the pros weren’t perfecting complexions Photoshop-style—far from it. Pat McGrath scrawled muted shades of mustard, green, purple, and blue across lids at Prada, while Peter Philips erased hairlines at Alexander McQueen by blasting models’ foreheads with black paint. McGrath admitted that the spray gun was “a new medium” for her, but true to form, she managed to use it in an unconventional way that would make graffiti legend Banksy proud.
Interested in “tagging” a few features of your own? Get your hands on the limited-edition version of Temptu’s Airbrush Makeup System that features a removable GelaSkin designed by Jade Lai of Creatures of Comfort. The navy sticker that covers the machine’s base is dotted with the same dandelionlike pattern printed on the skirts, shirtdresses, cropped pants, and tanks in Lai’s Spring 2014 collection. Create a flawless canvas by applying the Airpod Foundation and Blush (included in the kit), then take a cue from this season’s European runways and color outside the lines.
Temptu Limited-Edition Creatures of Comfort Kit, $149, available at www.temptu.com and NYC and L.A. Creatures of Comfort boutiques.
Alexander McQueen’s woman is never a wallflower and always a warrior, hair pro Guido Palau explained, fitting all forty models with metal helmets (designed by both Sarah Burton and himself). And similar to the many wigs we saw for Spring 2014, the armor was meant to provide “instant character” and “unify,” rather than reference a certain period—citing everything from Tron to twenties bobs as an inspiration for the final shape. Since the “head jewelry” was one-size-fits-all, Palau slicked back strands using Redken Hardwear 16 Super Strong Gel and pinned sponges in various places to prevent anything from wobbling on the runway.
With Jean-Michel Basquiat serving as one of the references, face painter Peter Philips perhaps looked to the artist’s early days, when he dabbled in graffiti on the Lower East Side of New York City, and blasted hairlines with Fardel water-based black pro paint using an air-brush system. “I wanted to create a shadow that would connect the face to the helmet and make the models more anonymous,” he said, also noting the Maasai people and how he aimed to create a tribelike effect. And while Philips said he’d normally describe the house muse as a “nonexistent girl,” this season she retained a sense of reality, as the skin was kept natural in lieu of porcelain doll- or alien-like complexions. “They’re warriors, but not space warriors,” he said of the finished product, bringing the fantastical McQueen woman slightly (and I reiterate, slightly) back down to earth.