51 posts tagged "Charlotte Tilbury"
The backstory behind the “glass” box on the designer’s runway and the hair and makeup that was built around it goes something like this: “It’s almost like [the girls] aren’t human—as if they’ve been preserved through time, and then, for this one moment, they are let out to feel the reality of the world,” hairstylist Paul Hanlon said without stopping to take a breath. So how exactly does that translate into a look for real, live models?
For maquillage master Charlotte Tilbury that meant creating perfect, pore-less skin using liberal amounts of concealer on the lids, around the eyes, nose, and mouth. Then, topping that with a full face of MAC Mineralize Moisture Foundation and a dusting of finely milled Prep + Prime Transparent CC Powder in Adjust. The cheeks, brows, and lashes were left bare so the lips could take center stage. To create the illusion of a more voluptuous, Irving Penn-inspired pout, the outside of the mouth was slightly overdrawn with lip pencil. Tilbury filled in the middle with three custom-blended shades—Pepto pink, acidic lilac, and bright orange with a kick of red—made using various combinations of Lipmix in White, Crimson, Burgundy, and Orange. The finishing touch was a coffee-colored, feline flick on the upper lash line that was reminiscent of Marilyn Monroe in her last sitting with Bert Stern.
Hanlon’s interpretation of Gurung’s tale required “lots of product” for shiny, “surreal” strands that looked as if they’d been dipped in formaldehyde. He started by making an almost surgical right side part and taming any flyaways with Schwarzkopf OSiS+ Softn’ Straight (a smoothing balm). Next, he doused the hair from the roots to the neck with the line’s Freeze strong-hold hair spray and flattened it against the head by hitting it with heat from a blow-dryer. Wavy “S” shapes were molded into the remaining length using Flatliner heat-protecting serum and a straightening iron. Hanlon misted on Sparkler (a shine spray) to lend a “vinyl” finish to the look.
Eight polishes—three of them being pearlescent pastels developed by Gurung in conjunction with Sally Hansen (available in March)—were used to coordinate with the colors in his collection. And while I hate to say, “I told ya so” (OK, so I don’t exactly hate it), finger painter Ana-Maria used a forthcoming matte top coat over three-quarters of the nail and a glossy lacquer across the tips to create a textural twist on the French manicure. Looks like some beauty trends will forever be sustained.
TSA swiped your face wash? Forgot your go-to mascara? Leave it to Benefit to create a pretty-in-pink solution. The brand recently launched its first Glam Up and Away kiosk in Austin-Bergstrom International Airport in Austin, Texas. The vintage beauty bus holds thirty of the brand’s best-selling products, and twenty-four additional machines are set to appear later this year in airports such as JFK in New York City and McCarran International in Las Vegas. [WWD]
One could say that Jenna Lyons made hot pink and tangerine lipstick a must-have for the masses by slicking these shades on models for the J.Crew catalog. In a recent interview, however, women’s fashion director Gayle Spannaus revealed that she prefers flawless skin, brushed brows, and subdued, nude lips to loud mouths for fall. [Fashionista.com]
Backstage regular Charlotte Tilbury is starting a “make-up revolution” and making it easier than ever by dividing the collection into ten looks (five natural and five nocturnal). This week, the face painter is introducing each “woman” and posting a how-to video tutorial online. [CharlotteTilbury.com]
Another day, another September cover for Cara Delevingne. This time, Karl Lagerfeld shot the super for the latest issue of Numéro magazine and played up the model’s ink against an all-black Dior trench. [Instagram]
The beauty direction for Ulyana Sergeenko‘s third Couture outing was heavily rooted in the notion of a fairy tale, a Russian one specifically, as it has been in seasons past. But for Fall, Sergeenko brought in a new team of backstage experts to bring the idea to life—literally. “She wanted the girls to look like Sleeping Beauty, like they’d just woken up out of a coffin,” Charlotte Tilbury explained of the “dreamy” skin that was kept purposefully pale and “dusty,” with a whisper of a rose-kissed flush courtesy of a blend of MAC Lipsticks in Ruby Woo and Sin. To make the eyes look as big as possible, the makeup artist turned her attention to a concentrated contouring effort, blending MAC Cream Colour Base in Groundwork, a creamy beige, through the socket and etching a thin black line along the upper lashes, which had been beefed up with additional individual strands for a “doll-like” quality. As an added effect, just before the show began, Tilbury painted a few dots of clear gloss below the inner corners of lids to give the illusion of teardrops, which caught the light as models walked the runway.
But that was only part of the makeup story. The other big news was a sneak preview of Tilbury’s own line, which launches in Europe this fall and was enjoying a test run during Couture week. She kept relatively mum about the specifics, showing off lab samples of an extra-emollient priming cream, a finely milled powder, and an “amazing” mascara, although the flame-haired face painter did give us one juicy detail: “It’s called Nude Kate,” she said of the lipstick she used on mouths, a pink-y beige color she developed for her friend and longtime client Kate Moss.
Orlando Pita was keeping things similarly interesting, busying himself with styling—and snipping. “I’m doing an Ulyana wig,” the hairstylist effused of the light brown hairpiece that he was actively cropping into a piece-y pixie cut for Jac to wear with the show’s closing look. “Otherwise, it’s a fishtail braid,” he explained of the show’s main hair design, which featured a center part and not one, but two different fishtail braids loosely plaited, one on top of the other, and then joined at the neck in a messy, free-form chignon. “I didn’t come here just to do a messy bun,” Pita joked of the elaborate, texturized style that was essentially meant to resemble couture bedhead—”how [Sleeping Beauty]‘s hair would be had her head been on a pillow.” It also happened to offer the perfect base for the alternating cloche-like hats and dangling forehead jewels that completed the elaborate fantasy.
The Model: Amber Valletta
The Moment: Faux Freckles
The Motivation: One look at model Amber Valletta, and it’s easy to see why she’s still gracing magazine pages nearly two decades after she first stepped in front of the camera. Valletta is one of those naturally beautiful girls whose face can hold theatrical hair and makeup just as well as none at all—or, as is the case with this 1995 Peter Lindbergh-lensed shot, a little bit of both. Please note the blond beauty’s Twiggy-esque side part, similarly sixties white-and-black-rimmed lids, and the image’s standout feature, the faux freckles scattered across the bridge of her nose! Nothing says summer like the speckling of a few rogue beauty marks on the high planes of the face, a runway technique makeup artist Charlotte Tilbury has employed on more than a few occasions backstage at shows like Chloé and Donna Karan over the years. Should you want a few subtle spots, without the sun exposure, follow the flame-haired face-painter’s lead and reach for MAC Lip Pencil in Hodgepodge.