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August 22 2014

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7 posts tagged "Charlotte Willer"

Backstage At BCBG, Humidity Not An Issue

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Before the weather gods decided to smile down on the isle of Manhattan—at least for a few hours—day one of New York fashion week started out a soggy, muggy mess. And while we struggled to keep our ever-growing frizz problem under control backstage at BCBG Max Azria, Bumble and Bumble hairstylist Neil Moodie was relishing in the wet conditions. “My inspiration was Barbara Bach in the James Bond movie [The Spy Who Loved Me] when she comes out of the water and brushes her hair back,” Moodie said, fashioning sleek coifs to accommodate the collection’s “1920′s with a bit of sporty athleticism” vibe (not necessarily the lingering effects of Tropical Storm Lee). Coating models’ strands in Bb Thickening Hairspray, Moodie used a wide-tooth comb to disperse its Gel in sections “so it looks like [the girls] used their own hands.” To give the illusion that the hair had just started to dry in the sun, Moodie rough-dried ends and used a large barrel curling iron to create piece-y waves. A mist of Bb Shine Spray right before models walked out onto the runway provided a dewy effect.

Dewiness also happened to be the key to Maybelline global makeup artist Charlotte Willer’s application. “She’s a girl who’s been out running, then comes home, takes a shower, and gets out looking amazing,” Willer explained. To keep skin radiant and moist, Willer turned to Maybelline’s Fit Me foundation—”it’s like a second skin,” she said—and applied varying deep rose shades of its powder blush for a natural flush. As a finishing touch, she swiped Maybelline’s new Baby Lips clear balm across lids and onto mouths for a dose of hydration. Simple as it all seemed, Willer was eager to issue an important proviso for at-home duplication: When applying foundation and blush, “Don’t forget the neck.”

Photo: Yannis Vlamos / GoRunway.com

“Tomboy Beauty,” Backstage at BCBG

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“We needed to toughen the girls up a bit,” hairstylist Neil Moodie said backstage at BCBG this morning, referencing the sleek “tomboy beauty” he and makeup artist Charlotte Willer put together for Max and Lubov Azria’s twenties-meets-seventies collection. “The clothes are very flirty and airy, so we wanted to keep it from getting too ethereal.” Moodie coated models’ manes with Bumble and Bumble Prep layered with its Styling Lotion before blowing hair out and creating a deep, “but not too severe” side part. He then swept up strands into a low ponytail, leaving out a tiny section to wrap around the elastic that secured the updo. “They like a very modern girl—nothing too gimmicky,” Willer concurred. In keeping with that MO, she painted a very natural, clean face by layering Maybelline’s new Fit Me foundation and powder and adding a slight warmth to the complexion with blush on the apples of models’ cheeks. Eyes received a wash of brown pigments form Maybelline’s Eye Studio Color Plush Silk Eyeshadow quad in Call Time, the darkest color of which Willer dragged underneath the lower lash line, while concentrating the “pearly” shade in the center of lids for a “dolly” look. A flesh-toned lip courtesy of Maybelline Color Sensational lipstick in Almost Nude and a few coats of OPI’s Samoan Sand lacquer, a creamy beige, kept things pretty and contemporary without verging into high-drama territory.

Photo: Courtesy of AP Photo

Step Into Liquid this Holiday Season

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There are a few things that are inevitable truths every holiday season. You will likely consume far more than your recommended daily allowance of alcohol and cookies; your credit card will get more action than any other time of the year; and when it comes to makeup, you will be more willing to, well, wear more. For those accustomed to a basic daily beauty routine, holiday parties present the perfect opportunity to turn up the volume. Around this time every year, we make a go of it with liquid eyeliner in an attempt to channel what starts out as Cher, Claudia Cardinale, Ronnie Spector, or Brigitte Bardot but usually ends with something a bit more Amy Winehouse. Because we’re certain that we’re not alone in our liquid eyeliner failures, we turned to Maybelline New York’s global makeup artist Charlotte Willer for a little guidance.

What can you achieve with liquid liners that you can’t with pot and pencil varieties?

Very sharp lines, thin lines, thick lines, and more architectural drawings. Basically, you can really have fun!

What is the one liquid liner you find yourself turning to over and over again?

I love Maybelline’s Line Stiletto Ultimate Precision liquid eyeliner because it has a flexible felt tip that gives you more control than a brush. I also use Shiseido’s Automatic fine eyeliner because it delivers deeply pigmented color. And Maybelline’s Eye Studio gel liner is also great—it’s a gel formula, not quite a liquid, so it’s easy to work with and comes in a variety of fun shades.

Continue Reading “Step Into Liquid this Holiday Season” »

A Green Light To Draw Outside The Lines

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When we saw the beauty look backstage at Erin Wasson x RVCA’s Fall show back in February, we were confused. We’re all for arty makeup—especially on the runway—but the one blackened, spiky eyebrow and short, horizontal black lip line combo that was happening backstage seemed less like creative experimentation, and more just plain misguided. If you asked us about the one beauty moment from this season we thought would never, ever, ever have legs off the catwalk, this is the show we would’ve singled out. It appears, however, that we were slightly too quick to write off makeup artist Charlotte Willer’s liberties with liquid liner; behold Sasha Pivovarova’s latest editorial in the new issue of Numéro. That is indeed black eyeliner that’s been unconventionally drawn around her lower lash line and lower lip. Somehow, we’re finding the editorial version an easier pill to swallow—or maybe we’re just hungry for a new season of shows to obsess over.

Photo: Greg Kadel for Numéro #116, September 2010

Olio Lusso, The Backstage Skin Saver

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Spending a concentrated amount of time pulling backstage duty each season, we have noticed a few secret weapons in makeup artists’ kits. Cosmetics, after all, can only go so far on their own. Tubs of Vaseline and tins of Smith’s Rosebud Salve make frequent appearances from New York to Paris, since, when combined with an eye shadow or pigment powder, each can create an instant grease paint for eyes, cheeks, and lips—and can even be turned into a colored mascara, as we saw Charlotte Willer whip up backstage at DKNY last month. For all skincare concerns, Pat McGrath keeps SK-II Signs Eye Masks on hand, so that in the event that an overtired, sallow-skinned model shows up in her chair—be it at Anna Sui, Dolce & Gabbana, or Balenciaga—she can instantly make dark circles and parched skin right as rain (“It takes just five minutes,” McGrath recently divulged of the cotton overlay’s super powers). Alternatively, Tom Pecheux prefers Rodin’s Olio Lusso for all complexion corrections and has toted the yellow elixir with him from Badgley Mischka to Balmain. Branded as a “skin scent” that doubles as a liquid moisturizer-cum-illuminator-cum-total miracle worker, Olio Lusso is packed with 11 essential oils, including ever popular and skin-regenerating argan, as well as apricot, evening primrose, and arnica, which reduces puffiness. The supple, glowing results are visible almost immediately, whether you use it as a primer pre-foundation or slather it on cathartically before bed. At a very basic level, though, it just feels (and smells) good, making it one of the best beauty tips we’ve come away with from the shows.

Photo: Courtesy of Rodin