54 posts tagged "Charlotte Tilbury"
The bleached brow dominated the Spring shows, making appearances at Alexander Wang, Marc Jacobs, Yves Saint Laurent, and Nina Ricci, among others. But halfway through the Fall shows in New York, its death grip on the backstage scene seems to be loosening up. Yes, makeup artist Diane Kendal successfully blocked out arches at Jason Wu on Friday, but she championed bushier forehead fringe at Alexander Wang only a day later (more on that in a bit). Arches at Luca Luca, Prabal Gurung, Suno, and Altuzarra were also left full—an increasingly popular choice this season that perhaps had its finest outing backstage at Jill Stuart yesterday. With Ali McGraw in mind, makeup artist Charlotte Tilbury set to work building a shimmering metallic eye, layering shades of copper, pewter, and gold from Jill Stuart Cosmetics’ Eyeshadow Quad #3 before slicking on a peachy nude lip courtesy of Stuart’s Lipstick in #5. But it was the brows that left the most lasting impression—filled in with pencils and brushed up for a well groomed but natural look. It’s a positive development, as far as we’re concerned, a sentiment that seems to be shared by much of the makeup establishment. “It’s killing the personality of the girls,” Tom Pecheux said of the debatably barbaric practice of brow bleaching when we saw him this morning at Derek Lam, where arches were notably filled in for a strong finish. What say you, dear readers: power to the peroxide bottle or keep brows big?
“These are brilliant pencils,” face painter Charlotte Tilbury said at Chloé yesterday, where she was using MAC’s Brow Pencils in Lingering and Fling to create the crux of her makeup look. “You can do everything with them because they have a waxy texture that blends so well,” she continued, creating a slight, highlighted contour across models’ cheekbones with MAC Mineralized Bronzing Powders. The idea backstage was vintage photos; Tilbury has become something of a master at re-creating a sepia image quality through full arches and shadowed eyes. Here, it was MAC’s Cream Color Base in Deep Brown that provided the antique tone on lids and underneath the lower lash line. Hair stylist Luigi Murenu, meanwhile, had directed his attention to specific old images, those of classical dancers, which meant low-slung, deep side-parted chignons. “The texture is really what gives it softness,” Murenu said of the sleek, almost masculine style that he prepped with John Frieda’s Luxurious Volume Thickening Mousse. “A lot of girls have thin hair, so this helps, but I used it in a tricky way because it has good hold for a ponytail and it keeps the shine.” A multitasking mousse? The secret is out.
At Sonia Rykiel’s Spring show, hairstylist Guido Palau was inspired by “an artsy, Left Bank, Parisian woman.” As he tended to a mass of big, soft, brushed-out curls, it was hard not to notice that that mass bore un uncanny resemblance to Rykiel’s own flame-colored frizz. Prepping hair with Redken Thickening Lotion to create body, Palau left-parted strands and spritzed them with Redken Spray Starch before using a half-inch curling iron to make ringlets all over. Setting the curls for 20 minutes, Palau then finger-brushed his spirals into soft waves using Redken Wool Shake 08 Gel Texturizer to up the volume quotient without adding shine. “If you can be bothered to go through the process, it’s very pretty and wearable,” he said of the thirties-cum-seventies look, a reference that makeup artist Charlotte Tilbury enforced with the makeup. “It’s seventies-inspired but with a modern twist,” the face painter said of the dewy skin and ruddy brown eye she brushed on, smudging earthy shades from MAC Pro’s Creme Eyeshadow Palette with its Eye Kohl Crayon Pencil in Teddy, a bronze color, which she also used to trace the inner rims of both lash lines. “It’s actually a very runway-to-reality look,” she explained, “because we used glowing cream on the cheekbones and a magenta violet pencil on the lips that is very matte. Whether your eyes are blue, green, or brown, it really makes them pop.” If your hair is red, all the better.
Miuccia Prada may have bucked Spring’s seventies trend yesterday with a nod to the high glamour of the thirties, but it was back to business as usual today at Etro, a house that’s all about the opulence and excess that defined the disco era. (Let it be known that an understudy crew of B-list models was hired just to do the rehearsal run-through last night before the show this morning. How’s that for excessive?)
“We’re doing seventies but with a chic, contemporary twist,” makeup artist Charlotte Tilbury told us backstage, where she was channeling “dramatic luxury” with a palette of rich peach and lavender. To ensure skin had a honeyed hue, Tilbury dusted MAC’s Mineralize Powder over cheekbones and up into temples to bronze and contour, while placing touches of champagne pigment onto the high planes of the face for added polish. Eschewing brushes, Tilbury used her fingers to blend MAC’s Paint Stick in French Violet around eyes in a retro oval shape, which she contrasted with peachy cheeks and a creamy wash of terra-cotta slicked across lips, courtesy of MAC’s Cremesheen Lipstick in Shy Girl. Hair stylist Eugene Souleiman—officially today’s busiest coif master, with turns at Moschino, Antonio Marras, and Etro—was going for an “expensive seventies vibe” with middle parts that he sculpted using a round brush, his blow-dryer, and a dollop of Wella’s Crystal Styler, which he spread over strands for blow-outs that bounced down the runway.
Alexander Wang’s Jean-Michel Basquiat beauty reference is getting company this week from another art star: That would be Andy Warhol, whose colorful, silk-screened portraits of Marilyn Monroe and Elizabeth Taylor inspired makeup artist Charlotte Tilbury at Victoria Beckham’s presentation (and James Kaliardos at DVF a few hours later). Tilbury layered two of Lancôme’s Color Design Eye Shadows in Trendy and Drama for a violet lid of epic proportions—we’re talking full-on lash line to brow ridge coverage. Adding to the Factory-era feel was a precise black liner job with a flick on the end, which she meticulously drew on with Lancôme’s Artline in Noir, and a few brushstrokes of its Hypnôse Custom Volume Mascara. Lips were painted a creamy shade of nude with the French beauty brand’s L’Absolu Rouge Lipstick in Rich Cashmere, topped off with a thick layer of its Juicy Tubes in Pure, a clear gloss. Frédéric Fekkai coif master Didier Malige picked up right where Tilbury left off with a statement sixties middle part (if they’re not deep and to the side, tresses have been split in the center so far this season). Prepping hair with Fekkai’s Advanced Full Volume Styling Whip to add some thickness before tucking it behind models’ ears, Malige fashioned an unexpected crimp across the back mid-lengths using a curling iron. It provided a nice shot of modernity to an otherwise retro look.