48 posts tagged "Charlotte Tilbury"
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.
Charlotte Tilbury Endorses Makeup for Men; Jennifer Aniston’s Cups Runneth Over; A History of Superman Coifs, And More…
Kate Moss’ go-to makeup artist (and regular backstage presence) Charlotte Tilbury does man makeup on her blog. Her secret weapon for giving dudes a healthy glow? The same thing many women rely on: YSL’s Touche Eclat. [Charlotte Tilbury]
In anticipation of the forthcoming Man of Steel movie, a look back at how Superman’s glossy, heavily gelled locks evolved over the years. The one we deem most super: Christopher Reeve’s 1978 sideswept spit curl. [Metro UK]
Unforgettable? A new study finds that stress can actually boost memory power. [Daily Mail]
Jennifer Aniston walks the red carpet at the premiere of Call Me Crazy, the Lifetime movie she produced, with visible cupping marks on her back. Call us crazy, but we would have opted for a dress that wasn’t strapless. [New York Daily News]
At an Oregon company, the boss really does know all: new technology is tracking employees’ diet and exercise habits in an effort to improve their overall health, and, in turn, their work. [Wired]
Last Spring, blue made a strong case for eye makeup color of the season, as liners and shadows in shades that ranged from aqua and turquoise to cobalt and navy turned up on the runways in full force. And it’s proved a hard habit to kick for Fall, too, as makeup artists like Diane Kendal and Hannah Murray have turned to midnight and robin’s-egg iterations of the hue at shows like Jason Wu and Topshop Unique, respectively. But there’s another color that’s staking a claim to the season, and it’s a rather unexpected one at that. “There’s a sort of seventies feeling to it,” James Kaliardos said of MAC’s forthcoming Rusted Red cream eye shadow that he blended onto lids backstage at Diane von Furstenberg, which followed a similar move by Charlotte Tilbury at Prabal Gurung, where she used the ruddy color to create a fresh, young, stained effect on eyes. In their more saturated outings, cranberry lids have showed up at Cynthia Rowley, courtesy of Romy Soleimani and her trusty compact of Stila Eyeshadow in Pigalle; at Altuzarra, where Tom Pecheux swiped MAC’s metallic raspberry eye shadow in Loves Lure underneath models’ lower lash lines for a “spooky” feel; and just yesterday at Gucci, where Pat McGrath borrowed a deep claret from Frida Giannini’s collection and turned it into a greasy, bold eye, replete with bleached brows for a molten finish. We have a feeling it won’t be the last we’ll be seeing of the color in Europe.
“The set is major,” Eugene Souleiman pointed out of the scene at Donna Karan’s Fall show, which featured a sculpture created by her late husband, the artist Stephan Weiss. Its presence was part of an overall return to what makeup artist Charlotte Tilbury called “the Donna Karan DNA,” but it inspired Souleiman in a quite literal way. “It gave me the idea to do something architectural. This is hair architecture, really,” he said of the conical ponytails he designed for the occasion.
Separating a section of hair in the center of the head, Souleiman created an internal ponytail. This was bound with twine before he added a blunt-cut, rounded extension to the base, which he covered with the remaining hair. “We wanted something that was very iconic—new classicism,” he continued of the look that he thought had a dominatrix, “ready-to-wear meets couture” sensibility to it. “There’s a subtlety, though,” he insisted, pointing out that from the front, you just see a hair-sprayed, slicked-back updo, but when you see it from the side, “you go, whoa!”
Tilbury was going for high impact from all angles with the “really greasy” smoky eye she built using MAC Paint Pot in Blackground topped with a swipe of Elizabeth Arden Eight-Hour Cream. “It’s a Peter Lindbergh kind of girl, with a modern twist,” she surmised, contouring cheeks with MAC Sculpting Cream in Copper Beach and highlighting the high planes of the face with its sheer, shimmery Cream Colour Base in Luna. Lips were left nude with a finger-pressing of its Lipstick in Fleshpot.