33 posts tagged "Cara Delevingne"
Announced via Instagram, Burberry tapped not one, but two supers for its latest fragrance campaign: nineties icon Kate Moss and icon-in-training Cara Delevingne. Although Moss’ brows are more waifish than big and bushy, the catwalkers share multiple similarities: both Brits, both beloved by designers (like Marc Jacobs, who cast the duo in Louis Vuitton’s Fall 2013 show), and both earning the title of wild child for their off-runway (and often-caught-on-camera) antics. Karl Lagerfeld recently told The Sunday Times, “Girls admire [Cara Delevingne] like they used to Kate Moss. They all want to be as free as her.” Well, at least those of us who live more by the book can smell as nonconformist and naughty as this trenchcoat-clad pair come autumn, when the eau (and Mario Testino-lensed campaign) is scheduled to be unveiled.
Tattoos have quickly become more commonplace backstage—models are not the blank canvases of seasons past. Yesterday at Prada, I saw a makeup artist hard at work with a concealer palette in hand, doing her best to camouflage a feather inked on a model’s neck. And of course, Cara Delevingne’s many tats made an appearance at Fendi (albeit all were covered up, either by white gloves or a face-framing fur hat). One spot I haven’t seen get much attention, however, are the cuticles. Sure, Delevingne has a lion permanently drawn onto her forefinger, but the area surrounding her nail still remains pristine. Leave it to London-based Ciaté—the company that brought velvet, caviar, and chalkboard manicures to the masses—to change all that with its latest launch: Cuticle Tattoos. These temporary transfers featuring bows, blooms, stars, and diamonds are designed to be positioned on the skin just outside the nail bed. It seems beauty brands have moved beyond nail art and are seeking (slightly) higher ground.
“It’s about purity of line,” hairstylist Sam McKnight explained of the sharp and minimal look he crafted at Fendi. “Karl sent me an illustration with a very small head.” To keep strands compact, McKnight employed a lot of Sebastian hairspray and made two side partings on either side of the face, dividing the hair into two small sections near the crown. Next, he folded the sections over one another, tying each off into a ponytail with a piece of elastic. “It’s like a basket weave or origami,” he noted of his technique. Then the sides were scraped back to cover the elastic and gathered into a low pony, which was later wrapped with a piece of the tail to hide the band. While the style appeared seamless, it required “pins and grips” (which were pulled out after the hair was set into place) and at least two pros per model to create.
Playing off the linear elements in the hair, face painter Peter Philips opted for cinematic highlighting and shading over a “proper makeup statement.” Seeing as the collection was filled with stark contrasts—tough fabrics and delicate orchids; fluffy furs and shiny, sleek jackets—he wanted to keep the look strong but simple, so as not to clash with or overtake the clothes. A full-coverage foundation was used to perfect complexions before it was powdered to a semi-matte finish. Then he applied a pure white Mehron CreamBlend Stick on the cheekbones. Philips said he tested out a pearly illuminator but found the result “too pretty,” and these girls needed to be “tough.” A taupe, matte pigment was run along the hollows of the cheeks, and eyes were given a graphic feel with a blend of two brown Make Up For Ever shadows (#17 and #165) just on the outer corners. Not wanting a cat-eye effect, Philips concentrated the color on “the spot between the socket and the eyeball,” angling it downward, “like old photos of Marlene Dietrich or seventies Guy Bourdin makeup.” Lips were topped off with transparent gloss. “It doesn’t look natural, but 50 percent of the makeup will blend in with the light on the catwalk,” he explained. And Philips was right. With drones buzzing overhead, the intense, almost-theatrical contours disappeared—all that remained were models’ perfectly chiseled features as Cara Delevingne kicked off the show, a Lagerfeld-like Fendi bug daintily dangling between her thumb and forefinger.
Cornrows have proven to be the braid of choice for Fall 2014 (at least thus far), but super Cara Delevingne embraced the plait long before it became a trend. She told British Vogue that while everyone around her deemed her bitty braids a beauty disaster, she thought they “looked fucking cool.” (Judging by their most recent runway shows, it appears designers like Adam Selman and Marchesa cofounders Georgina Chapman and Keren Craig agree.) Delevingne demonstrated her ongoing support of the look at last night’s Elle Style Awards in London, where she braided one side back to show off the multiple tattoos on her ear. The catwalker sported something similar at the Met Ball (albeit the plait was on the opposite side), but we have to applaud a woman who knows what she likes—even when popular opinion is weighed against her—and sticks with it.
British aristocrat and model Mary Charteris blinged out the hair above her eyes for the London shows. This particular beauty move took us right back to Chanel’s Fall 2012 collection and Peter Philips’ extraordinary, mineral-encrusted eyebrow art. While we love a naturally thick set à la Cara Delevingne, this It girl’s sparkly arches certainly got our attention.