August 31 2014

styledotcom How to dress when the temps start to drop:

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15 posts tagged "Hannah Murray"

Your Guide to Summer’s Grungy (and Glamorous) Look


topshop-grungeIbiza’s crystal clear waters and lush landscape make the Hamptons look buttoned up and bland. Here to inject some Spanish-island flavor into your summer makeup routine is face painter Hannah Murray and Topshop’s Ibiza Grunge collection (available online as of today) comprised of vibrant colors and molten metallics. From double-ended liner pencils in stark white and peacock blue to Glitter Pots in black and holographic periwinkle, these products produce that lived-in, danced-till-dawn aesthetic that party girls like Kate Moss have down to a perfect science. The standout for me is the Grunge Stick in Unkempt, a black cream shadow laced with finely milled silver sparkles that can be used alone for a smoky effect or over other pigments to deepen their color. The best part: It cools lids on contact, making it my go-to after a sun-soaked day (slathered in SPF, of course). “It’s a hybrid of a cream, powder, and kohl formula, so it has staying power but blends easily and gives just the right amount of grunge,” noted the pro. “Apply close to the top and bottom lashes and either smudge with your finger or a small blending brush. Build more product on top for a more intense effect, and for a more disheveled feel, work the color down and outwards from bottom lashes.” Here, Murray offers up more beauty tips for steamy nights:

What are your top tricks for keeping makeup dance- and sweat-proof come summer?
Use long-lasting formulas, especially on the eyes, like Topshop Beauty Waterproof Kohl, Grunge Sticks, and Waterproof Mascara. I actually love them year-round, as they’re the quickest way to apply color and they require no maintenance.

We’ve seen white liner everywhere—from the runway (Kenzo Spring 2014) to the red carpet. What’s the key to pulling it off?
I like to keep white liner graphic and minimal. A simple line along the top lashes with mascara in the roots of lashes is the modern way to wear it.

Do you have any tricks for faking a believable, Ibiza-worthy glow?
I apply bronzing gel to cheeks, temples, and forehead; a highlighter like Glow Stick in Play Up on the cheekbones, inner corner of eyes, and down the nose; and a touch of cream blush on the apples of the cheek. To finish the look, I also love to dot on a few freckles!

For a step-by-step to the “lived-in, festival eye” Murray created backstage at Topshop Unique’s Spring 2014 show, watch the video tutorial below:

Photo: Ivan Lattuada;

Delinquent Schoolgirls, Backstage at Topshop Unique


topshopMakeup artist Hannah Murray described the look at Topshop Unique as a rebellious boarding-school girl, which translated to eyes heavily rimmed with Topshop Beauty Kohl in Coal. “The key is to keep the liner solid-looking—it’s not meant to be grungy,” explained Murray. Mascara, while not particularly popular this season thus far, played its part here to create “super-cloggy” lashes that clumped together. The new Cheek Gels (on shelves this fall) in Sibling and Beep added a hint of color to the face. The inspiration? “I was thinking of flushed choirboys, so I kept the darker blush low on the cheeks and the brighter shade higher up.”

Hairstylist Anthony Turner carried over the schoolgirl vibe by crafting long, straight strands. Where models had layers, Turner deftly placed wefts to bring the length in line. L’Oréal Professionnel Tecni Art Pli, a setting spray, held center parts in place while Mythic Oil imparted luster to the ends. Just before the girls hit the runway, Turner lightly ruffled up the back of the hair to give the impression they “had been up to something naughty.”

Photo: Indigital

Backstage at Topshop Unique: Glamorous Globe-trotters


topshop-ss-2014-beauty-meghan-collisionThe 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.

Photos: Ivan Lattuada /

A Modern Approach To Minimalism Backstage At Helmut Lang


helmut-langNot 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.

Hints of Incipient Spring—And Kate Moss—Backstage at Topshop


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.

Photo: Danny Martindale/WireImage