4 posts tagged "Dolce & Gabbana Beauty"
“Once upon a time in Sicily…” read the invite to Dolce & Gabbana, and the clothes, many of which were accented with woodland creature-inspired appliqués, followed the fairy tale theme. A skeleton key motif was also threaded throughout several pieces in the collection, almost as if to say the doors to the designer’s secret winter garden had been unlocked. Backstage—a clandestine world all its own—the heroes of hair and makeup, Guido Palau and Pat McGrath, were hard at work crafting an “enchanted” look to match the storybook-worthy set. Gather round as the dynamic duo tell their captivating beauty tale:
“It’s always about the beauty of the eyeliner—everything begins there,” explained Pat McGrath of the soft black flicks she created today. The designer’s favorite Italian film icons, Sophia Loren and Monica Bellucci, once again served as inspiration, but in lieu of the heated Mediterranean woman, a more enchanted spirit was embraced. As The Nutcracker Suite played and snow softly cascaded down over the barren almond blossom trees (seen in full bloom this past Spring) at one end of the runway, a softer, more “fairy tale and woodland” look emerged onto the catwalk.
To bring models’ features forward and achieve that “lit-from-within” glow, McGrath used two tones of Dolce & Gabbana’s Perfect Liquid Luminous Foundation—one to match the complexion, and a paler hue on the high planes of the face. Cheeks were lightly dusted with Blush in Nude. Being the main focus, eyes were rimmed with Crayon Intense in Black, then layered with Glam Liner, a liquid formula, to intensify the winged shape. The lower lashes were given the same treatment, but the majority of the pigment was wiped away with a cotton bud, leaving only a trace of color for definition. A new launch from the brand, Perfect Mono Cream Eye Colour (on shelves this Fall), was washed across the lids—Cocoa in the socket and Innocence, a pearly white, in the center and on the brow bone. (Innocence was also mixed with Gold Dust and tapped onto the cheekbones to highlight). After using a nude pencil on the water line, two tubes of mascara were pulled out to polish everything off—Intenseyes Mascara in Black Intense on top and Passioneyes in Terra, a brown shade, on the bottom—to sweep lashes up and out. Using just her fingertips, McGrath pressed Classic Cream Lipstick in Honey onto models’ mouths before dabbing a clear gloss in the center. “Stefano and Domenico spoke about the fact that they don’t want the gloss on the top of the lips because it can look really old-fashioned,” she noted.
The hair was put up in “a classic Dolce manner,” explained Guido Palau—meaning a “sensitive” style swept off the neck and face, but not “snatched back and hard.” This season, strands were prepped with Redken Body Full, a thickening spray, to create “guts and a little bit of friction,” then misted generously with Pillow Proof Two Day Extender, a dry shampoo, for texture. The length was loosely braided and coiled into a low chignon; tendrils and “floaty bits” were pulled out to frame the face. “I think they’ve really defined their woman, the boys, and it’s something that’s very successful for them,” noted Palau. The one thing they did change up this season: The elaborate hair accessories were swapped out for chain mail-like hats encrusted with crystals or sequins. After all, what fairy tale would be complete without a knight in shining armor?
Pressed powder was once considered something only your grandmother would keep in her purse and pull out once she retreated to the ladies’ room, the chalky pigments leaving her skin matte…but also cake-y. Leave it to Pat McGrath and Dolce & Gabbana Beauty to give the concept a thoroughly modern update. The brand’s forthcoming Perfection Veil Pressed Powder leaves behind a velvet finish but doesn’t eliminate radiance, and was used at the designers’ Spring 2014 show to tone down the shine on models’ purposely flushed complexions. The trick to finding your shade is similar to how you would go about choosing a foundation: Swatch both a color that’s darker and lighter than your face along the bottom of your cheek—just above the jawline, explained McGrath. “Always test the shades in a bright light, or daylight if possible, and you will be able to clearly see which shade blends into your skin tone best,” she added. Then swirl a fluffy brush into the product, tap off any excess, and start by buffing the featherweight formula into your T-zone and work out toward your hairline using “circulating strokes.” One layer should suffice, but should you need a touch-up during the day, this gold compact is chic enough to use in public.
Available February 7, $60; saks.com
It seems that Domenico Dolce and Stefano Gabbana’s love affair with Sicily and Sophia Loren will never end (and Spring 2014 is no exception), but what an exquisite relationship it has been on the runway. “Even though it’s soft, romantic, and cherubic, it’s still Sophia Loren—but this time she’s in a Greek theater and it’s sunny and hot,” Pat McGrath said of the muse, alluding to yet another reference for this season’s show, Federico Fellini’s 1969 film, Fellini Satyricon. To lend an instant glow to skin, McGrath applied Dolce & Gabbana Make Up Perfect Luminous Liquid Foundation in a shade slightly warmer than each model’s skin tone. For a Fellini-esque flush, three shades of Luminous Cheek Colour (Rosebud, Apricot, and Peach) were swirled together and dusted on the cheeks, chin, hairline, and brows. To pick up on the plethora of precious metals in the collection—including a finale entirely composed of shorts, dresses, and separates made of metallic lace—a blend of yellow- and rose-gold hues from the Smooth Eye Colour Quad in Golds and Desert was applied to lids, with a slightly deeper beige blended into the crease and rimmed along the lower lash lines. To highlight cheekbones, McGrath used the gilded side of the Smooth Eye Colour Duo in Fortune, then wet a small brush and dabbed the pigment on the inner corners of the eyes to catch the light. Since it wouldn’t be a Loren look without at least a hint of a cat eye, a tiny wing was made on the outer corners with a chocolate brown pencil and topped with Intense Liquid Eyeliner in Baroque Bronze, while a nude pencil was run along the lower water lines for pop. Lashes were coated with PassionEyes Mascara in Terra and a brow pencil (a forthcoming launch from the label) was used to fill in and flesh out arches. Classic Cream Lipstick, in Bellissima and Traviata (out for Spring 2014), was mixed on the back of McGrath’s hand and pressed into lips for a subtle, stained effect.
The hair—a softly braided chignon pressed flat against the head—harked back to the styles often worn in ancient Rome, said backstage fixture Guido Palau. To prep strands for these un-stuffy updos, he misted Redken Guts 10 for texture and Powder Refresh 01 to take away any shine. The top half was curled using a half-inch barrel, the sides gently twisted back and secured near the middle of the head. Next, the length was gathered into a singular braid, coiled, and pinned into place. And when in Rome (or at least keying a show inspired by it), one should do as the Romans do, which for Palau meant tucking the exquisite embellishments crafted by the house—such as coin-encrusted headbands, jeweled combs, and feminine flora—throughout. To finish, he tugged pieces around the front to loosen up the look and create a soft halo of fuzz around the face. The look, he elaborated, contained “all the things a girl wants to be at some point” (think Italian goddess meets femme fatale meets modern-day jet-setter). And indeed it did, at least for this girl.