36 posts tagged "Charlotte Tilbury"
It was so hot and dark backstage at Prabal Gurung’s Spring show, which took place during New York’s early-September, rainforestlike conditions, that there was literally steam rising in the shadows as models assembled in first looks for rehearsal. Discomfort aside, it was the perfect backdrop for Charlotte Tilbury’s makeup look. “It’s a play on ethereal and haunted,” the flame-haired face painter explained as models like Kati Nescher and Joan Smalls blotted the sweat off of their brows, cheeks, and lips in between makeup brush strokes. That Tilbury had committed to an all-cream palette certainly helped matters. “Cream [formulas] makes it a lot easier,” she explained of the look that was heavy on melted-in contours.
After creating a base with MAC’s forthcoming Mineralize Moisture Fluid Liquid Foundation, Tilbury played with a palette of its new Sculpting Creams in Pure Sculpture and Coffee Walnut, working the emollient, earth-toned tints from the hallows of cheekbones up through the temples, along the jaw line, and through the sockets of eyes. Lids were given a touch of highlighter courtesy of a finger-dabbing of MAC Cream Color Base in Luna, a shimmering pearl, before its Prep + Prime Translucent Powder was dragged through the T-zone to further showcase the architecture of the face.
Paul Hanlon’s hair design was similarly amenable to the conditions. “It’s very nineties but also has a Sissy Spacek, seventies vibe as well,” the stylist said of his center-parted, deliberately flat, no-volume coifs. Massaging Schwarzkopf’s Osis Grip Extreme Hold Mousse into the roots and blowing it out for texture, Hanlon raked “loads” of its Osis Magic Finish Anti-Frizz Shine Serum through the mid-lengths to create separation so strands were “ropelike—skinny and languid.” As a finishing touch, he coated his hands with Osis’ Buff Light Styling Cream to smooth any flyways.
Tracylee’s nail designs were probably the closest thing to the contemporary art movement that compelled Gurung’s collection. “He was inspired by Amy Dicke and Anish Kapoor,” said the Sally Hansen nail ambassador, who was looking at a piece of Kapoor’s work when she devised Spring’s “blood-dripped nail.” Using one of the three latest shades from Gurung’s continued partnership with the brand, Tracylee slicked a trickle of Sally Hansen’s Angel Bite, a sanguine red, onto a sheer cream base. Apparition, a gunmetal gray, and Resurrection, a steely blue, will join the deep burgundy lacquer on shelves next year.
While Lucia Pieroni’s subtle, wine-stained mouths and glossy flushed cheek combo backstage at Giles Deacon’s Spring show was our hands-down favorite beauty look of the season, turning the color up a few notches can be that much more impactful. How best to accessorize one of Deacon’s black feather swan headdresses? With a striking, retina-burning red lip. Here, Charlotte Tilbury paints a doozy of a pout onto Laetitia Costa for the May issue of French Vogue. It’s hard to look away, no?
Hats on the runway present an interesting dilemma for hairdressers: how do you do something that’s simple enough to sit well underneath a headpiece, but still complex so that it makes an impact on its own? At Donna Karan, Eugene Souleiman solved that problem with “a detail that was quite graphic and quite ornate:” behold, the side twist. “It’s masculine and refined,” the Wella professionals global creative director said of the roll, which he prepped with a mixture of Wella Perfect Setting Blow Dry Lotion and its Ocean Spritz Beach Texture Spray for a soft, matte finish.
Referencing Karan’s “tailored, handsome collection,” Charlotte Tilbury wanted to incorporate the designer’s palette of black, gray and red into the makeup but in an unexpected way. “We didn’t want to go too retro with a red lip so we thought, ‘how do you give it and eccentric, modern twist?” The answer? A red eye. Keeping skin dewy by applying MAC Cream Color Base in Pearl on cheekbones, down the bridge of the nose and along the cupid’s bow of the mouth, Tilbury carved out a slight contour with its Pure Sculpting Cream in Pure Sculpture before beefing up brows with its Eye Shadows in Linger and Fling. Then came the “cherry, chocolate-y” lids, which the facepainter created using a mix of MAC Lipsticks in Partyline, a deep burgundy, and Diva, a purplish crimson. “It’s all about the eyes this season,” Tilbury declared.
“The casting’s really considered, so I thought the hair should be, too,” hairstylist Paul Hanlon said backstage at Prabal Gurung yesterday, where the designer’s “uncursed”-themed show, which explored the ideas of heaven and hell through periods of black, then blue, then gold and white, necessitated a similarly linear coif. “The girls at the beginning have dark, dark hair but towards the end of the show, it’s almost white blond,” Hanlon explained, prepping strands with Tigi Catwalk Curl Collection Curlesque Strong Mousse, blowing them dry, then adding a hit of its Your Highness Weightless Shine Spray, section by section, for a high-gloss finish. “It’s like Sissy Spacek—flat, narrow hair that’s very pure,” he added, fashioning middle parts that kept the hair deliberately graphic so that it didn’t conflict with the embellishments in Gurung’s clothes.
While Hanlon took the designer’s other influence, the Japanese blue rose, as a green light to mimic Asian hair—”it’s very straight; there’s no movement”—makeup artist Charlotte Tilbury chose a much more literal translation of the prized bloom, playing with turquoise, teal, and cobalt shadows and liners for what she deemed a “hypnotic” eye. “There’s always a story here,” Tilbury said, referencing last season’s “intoxicating” tri-colored lips before throwing out Fall’s makeup references, which included Avatar and scarab beetles. Prepping skin with MAC Face and Body Foundation for an “innocent, fresh” finish, Tilbury used blue and green shades from its forthcoming eye shadow palette in Delft, as well as its Pigment in Blue Brown and its Eyeshadow in Fresh Water, to create a wash of iridescent color. MAC Technakohl Liner in Smoothblue was used to rim both the upper and lower lashline. “There’s a dual tonality,” Tilbury said of the corresponsing flashes of aquamarine and teal, which she described as “precise but very raw” (while examining her team’s handiwork, the flame-haired face painter would proclaim, “more like the feather of a bird of paradise” if she felt the pigment had been applied too angularly). “I don’t want to see a mess—it’s still beauty,” she chirped.
The same blue was echoed in the nails in the form of Blue Rose, one of four new polishes in Prabal Gurung’s continuing collaboration with Sally Hansen. Manicurist Jin Soon coordinated the steely shade with Onyx, a black she gave to the show’s first group of models, and Gilded Lily, a dense gold she applied to its final group, who wore the celestial gowns at the end of Gurung’s show. Ivory Skull, the fourth varnish in the collection, will also be available when the range hits stores in October.
We first saw them last season at Chloé, where Charlotte Tilbury was crafting the “chicer side of hippie”: freckles—lots of them, stenciled across the bridge of the nose and onto cheeks, “just where the sun would hit you,” the makeup artist explained. It was a quirky touch that worked with the rocker chick, music festival vibe she was going for at the time, and one that continues to have legs for Spring. Tilbury has turned sun spots into a season-spanning affair, etching them onto clean complexions at Donna Karan in New York and Nicole Farhi in London with MAC Lip Pencil in Hodge Podge—and she’s not the only one making beauty marks. Val Garland reached for MAC Lip Pencils in Cork and Burgundy and its Eye Pencil in Coffee backstage at Jeremy Scott for her “Daisy Duke goes to Paradise City” homage, Lucia Pica chose its Eye Brows in Lingering backstage at Roksanda Ilincic, and just yesterday, Pat McGrath followed suit at D&G. It’s an interesting move, considering the skincare establishment’s emphasis on SPF products to prevent freckles from ever rearing their cute little heads. But since we happen to have a permanent faceful of them, we’re not complaining. What do you think of the technique: better left on the runway or totally worth trying come spring?