4 posts tagged "D&G"
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?
It all started at the Couture shows in January. Peter Philips scrawled a deliberately short, thick, almost awkward line across models’ top lash lines at Chanel to “take the makeup look away from retro,” and a new era of unexpected liner applications had officially begun. Since then, the concept has been all over the Fall shows. At Marc Jacobs’ dominatrix extravaganza in New York, François Nars called his similar flicks “droopy,” comparing the downward sloping line he drew onto upper lash lines with his new for fall Larger Than Life Longwear Eyeliner in Via Venetto to “a grandmother who’s a bit eccentric that puts on her eyeliner wrong.”
Flash forward to Milan, and a whole range of unique adaptations of the sixties makeup essential were employed to keep the plethora of references to that era from becoming too literal. At D&G, Pat McGrath added white to the equation, coating the inner rim of the lower lash line with Dolce & Gabbana The Makeup Crayon Intense Eyeliner in #13 White to add a modern, graphic touch to the thick black stroke on lids. A few hours later at Moschino, Tom Pecheux turned to MAC Technakohl liner in Graphblack to draw an oval shape that swept underneath the lower lash line and almost extended to the brow bone to resemble cat-eye sunglasses. “It looks like every girl is wearing them on the catwalk whether she is or not,” he quipped, topping the outline with a dusting of MAC Single Matte eye shadow in Carbon for opacity. On Sunday, it was Lucia Pieroni’s turn at Missoni, and she focused her attention on crafting an elongated black smudge along lower lash lines only using the same MAC Technakohl liner at Missoni to help hammer home the idea of “cool girls who are slightly masculine.”
As far as our favorite incarnation goes, it’s a tie. Yesterday at Giorgio Armani, the house’s resident face painter, Linda Cantello, etched two parallel lines extended toward the temple from the outer corners of models’ eyes for a look that was inspired by “the boudoir,” while Peter Philips brought things full circle at Jil Sander. Rather than extrapolate on the trend with a new shape, he chose to introduce a new color: a shimmering, blue-reen jade. And on to Paris, we go…
In case you somehow missed it, what with all the fun-with-fonts prints, plastic charm necklaces, and sneakers with wedge heels (on the runway!), the theme at D&G for Fall was “street couture,” according to Stefano Gabbana and Domenico Dolce’s reigning makeup mistress, Pat McGrath. A requisite “graphic” eye followed suit, which McGrath drew onto models’ upper lash lines in a thick stroke with a sixties flick at the outer corners using Dolce & Gabbana The Makeup Crayon Intense Eyeliner in #5 Black. To add depth and brightness, McGrath etched its Crayon Intense Eyeliner in #13 White along the inner rim of the lower lash line before turning to her trusty tube of mascara and her increasing, somewhat out-of-character reliance on brow pencils and powders (see Sui, Anna; Mendel, J.; and Prada for further evidence that the queen of the bleached brow may be changing her ways). Cheeks were lightly carved out with a soft swipe of blush along cheekbones, and lips were left natural to maintain the image of a “modern young woman”—who happens to have a thing for nail polish. Tips were painted in a rainbow of colors, including orange-red, bright yellow, and metallic purple (as evidenced above) to coordinate with the designers fluoro-centric collection.
As for the hair, coiffing star Sam McKnight took a page out of Guido Palau’s book at Rag & Bone, washing models’ strands on site with Pantene’s Color Preserve shampoo and middle-parting them to provide the light, airy texture clean hair takes on before it gets bogged down with product. A laborious undertaking, no doubt, but one that yields a fresh, finished product that moves quite well as it sashays down the catwalk.
Whether she got rid of the extensions she was sporting around L.A. a week ago or simply pinned them back, Rumer Willis’ tendrilled, newly auburn waves were eye-catching at the D&G Beverly Hills flagship opening this week—literally, they made us do a double take. We’re not missing the black hair of her Demi-look-alike days; we love her as a redhead. What about you?