13 posts tagged "Hannah Murray"
The quintessential grounds of Regent’s University and the in-bloom rose gardens of Regent’s Park spoke of a very serene location for this season’s Topshop Unique show space. Backstage, however, told another story entirely.
It’s 2:15 and only five of the expected twenty-nine models have arrived so far. It’s only forty-five minutes until showtime. It’s bedlam.
Once the models did (finally) arrive, it was straight into the tanning tent, where skincare expert Nichola Joss was armed with St. Tropez Instant Tan Wash Off Face & Body Spray in Medium/Dark. “I’m going for a statement tan,” Joss said. “She’s a global girl and we want her to look like she has been [sunning] all summer.”
The world-traveler theme was echoed in the makeup, as well, where face painter Hannah Murray used a new Topshop matte bronzer (out for spring) to bronze and contour the girls’ faces. “We want her to look like she has just woken up on a beach somewhere—maybe Ibiza—after partying all night,” Murray explained. “Her makeup, applied the night before, is sultry and even a little decayed.” A brown gloss was painted over lids and a metallic silver pencil (also out for spring) was sketched into the inner corners of the eyes to play with textures. Mascara was kept just to the roots of lashes so the ends looked slightly lighter and sun-exposed, and a touch a plummy blush was dusted over the apples of the cheeks.
For hairstylist Anthony Turner, his inspiration was Daria Werbowy. “This season the Topshop girl is sexy, almost Amazonian-like, and definitely not as grungy and rock ‘n’ roll as she has been previous seasons,” he explained. “There’s more oomph and va-va-voom about her.” The oomph came courtesy of L’Oréal Professionnel Tecni Art Volume Lift Mousse and a one-and-a-half-inch curling iron. Hair was waved in random sections before a small amount of conditioner was scrunched in at the roots for a slightly wet look. And there you have the va-va-voom.
Not to be unexpected, but my chats with hair pro Paul Hanlon and face painter Hannah Murray at Helmut Lang were rife with references to the nineties—from Peter Lindbergh’s images of the era’s supermodels to one of the label’s original muses, Kirsten Owen. However, instead of grungy and destroyed, both artists approached the decade with a bit more polish and sophistication.
To juxtapose the slouchy silhouettes in the collection, Hanlon kept the hair less “street” and more groomed. “We were worried that if the hair was too natural, it would look wishy-washy and drab,” he explained. After prepping strands with Unite 7Seconds Condition Leave In Detangler and Session Whip (a weightless sculpting foam) for shine and girth, he blew the hair smooth and straight with a round bristle brush and touched up the ends with a flat iron. Next, Hanlon added a clean side part and liberally sprayed the top, section by section, with Max Control Spray Strong Hold. Once the hair was tucked neatly behind the model’s ears, he hit it again with some heat to lock everything into place. Then, a low tail was secured with an elastic and hidden underneath a custom black Helmut Lang cover (a strip of Velcro was affixed inside to give it grip). “Rather than putting the ponytail in tight, we kept it loose to provide an element of ease and reality…with this type of style and that accessory, the hair can look a little too S&M-y,” he said.
As for the makeup, Murray’s ode to the inspiration was obviously the brown-red mouth—a blend of two NARS Satin Lip Pencils in Golshan and Het Loo. “I’m using a lip brush to apply, and diffusing [the pigment] around the edges with a domed blending brush that’s normally reserved for the eyes to get intense color that doesn’t look too done,” she said. The rest of the face was left “raw,” only applying concealer—no base—where needed. To achieve a ruddy flush, Murray warmed up the same Golshan pencil used on the lips on the back of her hand and pressed it onto the lower half of the cheeks with her fingertips. Triple X Lip Gloss was tapped on the centers of the eyelids and the excess applied to the tops of the cheekbones to catch the light (although Murray disclosed that Egyptian Magic All-Purpose Skin Cream can be used for the same effect). The brows were left bare, aside from a clear setting gel, and lashes remained mascara-less. Looks like minimalism is back with quite a beautiful vengeance.
Audiences of the front-row (and digital) variety may have gathered en masse at the Tate Modern to see Topshop Unique’s Fall offerings, but spring was in the air backstage, thanks in large part to the uncharacteristically warm and sunny February London day. The euphoric feeling found its way to Hannah Murray’s makeup palette in the form of bright sky-blue eyes—a similar aqua to the one illustrated on lids in the popular Lichtenstein exhibit simultaneously on view at the museum.
“It’s called Solstice,” the Topshop makeup consultant said of the shadow, a shade from a new, as-yet-unreleased eye quad that she swept generously onto eyes, from lash line to brow bone. “An almond shape on the eyes can be both tough and ravishing at the same time. I’m calling it The Almond Panda,” Murray joked, using Topshop’s waterproof kohl liner in black along upper lids to keep the robin’s-egg color from looking “too ethereal.” Following this with multiple lashings of its mascara in black, Murray built a creamy and clean base with designated highlights and a slight flush, courtesy of Topshop’s Lip Cream in Smart.
L’Oréal Professionnel’s Anthony Turner took his cues for the hair from fashion’s favorite beauty icon. “The Topshop Unique girl is rebellious, unkempt, and very British. No one sums that up better than Kate Moss,” he explained, creating messy center parts with his fingertips before raking in L’Oréal Professionnel Tecni Art Pli and Full Volume Extra Mousse to get a soft, fluffy texture. “She’s a touch Kate Bush in the seventies, too,” Turner conceded as he employed his trusty Mason Pearson brush to add a cloud-like finish to the look.
Two weeks into the Spring shows, and there are two dominant decades from which designers seem to be culling inspiration, which has had a sweeping impact on backstage beauty looks as well. While New York’s collective homage to nineties minimalism gave us the simple, no-makeup makeup that threatened to cast a “contours, not colors” spell over the season when things first got under way earlier in the month, an undercurrent of support for the sixties has meant a renewed focus on last season’s eyeliner love, which has been reimagined with a surprising pigment preference: blue. It has come in bright shades of aqua at shows like Clements Ribeiro, where makeup artist Cassie Lomas channeled the “innocent beauty” of Wes Anderson’s Moonrise Kingdom with a slick of Bourjois Metallise Eyeliner Pencil in Bleu Clinqiant, and Moschino Cheap And Chic, where Hannah Murray gave psychedelia an “urban kick” by etching MAC Pro’s Ultra Chromagraphic Pencil in Marine beneath the lower lash line. “[Michael Kors] just wanted to do an eye thing,” Dick Page explained of his similarly hued “floating lines” at the designer’s show, which he drew in a banana shape through the crease. Predictable shades of black got more competition from midnight iterations as well at shows like Mary Katrantzou, where Val Garland fashioned an inky elongated almond line with a blend of MAC Lipmixes in Blue and Red, and perhaps most notably at Altuzarra. “I think it’s so chic,” Tom Pecheux said of MAC’s Technakhol Pencil in Auto-de-blu—”a royal blue,” he declared backstage at the designer’s show—which he brushed along upper lash lines to a squared-off edge. That right there is endorsement enough for us.
Topshop Unique’s girl is effortlessly cool and understatedly chic—a profile that was made infinitely clear with a quick peruse of the show’s front row. Next to Elle Fanning sat Leigh Lezark, who was a stone’s throw away from Poppy Delevingne, Pixie Geldof, Tallulah Harlech, and Olivia Palermo. “She’s the girl that everyone wants to be,” hairstylist Anthony Turner confirmed backstage, where the It-ness of it all was reinforced with a gaggle of the season’s biggest catwalkers. Cara, Jourdan, et al. got Turner’s low side parts, which were tucked behind the ears and treated with L’Oréal Beach Frizz for a shine-free, matte texture. “It’s the day after the night before,” he explained, throwing in a “nineties Kate Moss” reference as well as the words “very cool” to describe strands, thus completing the season’s hair inspiration trifecta. As models lined up before the show, Turner roughed up the hairline and broke up sections in the back, creating a randomness to the otherwise uniform coifs.
“It’s nineties grunge meets punk,” makeup artist Hannah Murray further elaborated, giving a “pretty edge” to designer Kate Phelan’s white and pale yellow palette. Mixing two Topshop Makeup Blushes in Prime Time and Flush, Murray made a makeshift, rosy eye shadow, which she dabbed with the silvery shade from its Eyeshadow Palette in Constellation to give lids a sheer iridescence. Cheeks were contoured using Topshop Lips in Beguiled, a vampish dark red that was layered with a dollop of its Balm for a dewy finish. To ensure the girls didn’t look “too done,” Murray took mouths down with a finger-patting of foundation while manicurist Anatole Rainey reprised Spring’s “nothing nail” with Topshop Nails in Nice & Neutral.