15 posts tagged "Hannah Murray"
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.
Topshop Unique isn’t typically the first place you’d look for wearable hair and makeup looks that translate to everyday life. Few rushed to replicate the furry eyebrows and frizzy strands on offer at the Fall 2010 show, for example—or the Minnie Mouse noses circa Fall 2011. But under newly appointed creative director Kate Phelan, accessible has trumped kitsch for Fall 2012, in both the clothes and the beauty.
Light and feminine were the buzzwords Phelan gave her glam squad of makeup artist Hannah Murray, hair stylist Sam McKnight, and nail artist Anatole to suitably off-set a collection dominated by military lines, a dark utilitarian palette, and heavy fabrics. “We wanted to create an army of über-beauties,” Murray explained backstage, which was all about “fresh-faced luminosity and a defined eye.” Using a selection of the retail behemoth’s in-house cosmetics line, Murray reached for Topshop Glow, a highlighter that carved out cheekbones, the bridge of the nose, the brow ridge, and the cupid’s bow of lips, before painting mouths with its Lips in Nevada, a nude-peach color. Then she devoted her attention to lids, which were laden with mascara. “I’d been looking at Amy Arbus’ photographs of the 1980′s. I wanted to line the eyes but without a retro flick. I felt a curved wing would be more modern,” Murray explained, tracing Topshop Kohl in Coal along models’ upper lash lines, intensifying it as she went with its Matte Eyes shadow in Backboard.
McKnight kept things dually light and airy. “I wanted clean, fresh hair,” he explained. “No back-combing, just a little soft texture.” Prepping strands with Frédéric Fekkai Coiff Bouffant Lifting & Texturizing Spray Gel for a subtle lift, he coaxed each long mane into a buoyant bedhead with a boatload of shine.
But perhaps the greatest sign that the winds of change were upon us yesterday was that nail artist Anatole steered clear of the art-y designs that have prevailed here for the past few seasons. Gone were the hand-etched hieroglyphics and dalmatian-print spots, and in their place, a return to that old classic, the French manicure. “I haven’t done one in ages,” he admitted. “But look: It’s sheer, fresh, and cool,” the manicurist insisted, painting on a two-coat tip with Topshop Nails in White Lie topped with its creamy opaque Milkshake so the contrast wasn’t too stark.
The beauty look backstage at Prabal Gurung’s Spring show was one of the season’s most memorable in large part due to the tri-colored, molten lip crafted by makeup artist Charlotte Tilbury. “It’s like there is an intoxicating flower coming out of her mouth,” Tilbury said backstage of the purple, magenta, and fuchsia pouts that were meant to look like they were in bloom, in line with Gurung’s heavy-on-the-florals collection. And while Gurung’s new, kaleidoscope-inspired pre-fall line is not meant to push the petal theme any further, we couldn’t help but notice that there is still an emphasis on a stellar, albeit subdued, lip. “We went with a very natural look—nothing too crazy,” makeup artist Hannah Murray told Style.com during Gurung’s pre-fall lookbook shoot last month. “These girls are so strong they don’t need much,” Murray said, referring to models Ming Xi, Kate King, Hanne Gaby Odiele, and Alana Zimmer, whom she gave a “rocker punk edge” courtesy of Topshop’s truly divine Lip Stick in Coy, a matte coral color that provided the perfect fresh and tough effect. Following a kick of mascara, Murray imparted a slight sheen to the skin with an illuminator, like Armani’s Fluid Sheer, to hammer home an effortlessly chic finish that was complemented by hairstylist Esther Langham’s middle-parted, saturated strands. That’s right, dear readers; Spring’s wet look appears to be in full effect for pre-fall.
The big story backstage at Topshop’s Spring show was the sheets of gold leaf that hairstylist Paul Hanlon literally blew onto models’ tresses after coating individual strands with honey. The metallic, slicked-back style isn’t necessarily user-friendly, but the gilded effect left a lasting impression on us—and on Topshop makeup artist Hannah Murray, too, or so it seems. The face painter has designed the British retail giant’s new autumn/winter trend collection with warm golden hues in mind. “It epitomizes the idea of glossy, polished beauty,” Murray says of Smoke & Mirrors, her new 11-piece line that pays homage to the glamour of the early seventies with high-shine finishes and warm sun-kissed colors. Most impressive among the offerings, which include two nail colors, a lip and eye pencil set, a lash-extending mascara, two lipsticks, and a bronze and blush duo, are a multitasking Glow—a liquid mousse that applies like a cream to leave a gorgeous shell-toned sheen on cheekbones, lids, what have you—and a four-pan Eye Palette. Full disclosure: eye shadow quads tend to intimidate us (put what, where?), but this one is really user-friendly and happens to be crafted with our complexion in mind: There are two dark brown matte shades, one with a mauve undertone and the other with an olive undertone, and two shimmering pigments in champagne and bronze. You can wear each alone or apply the darker colors up through the crease while reserving the lighter shades to highlight the brow bone, as we’ve been doing of late. It’s going glam, made ridiculously easy.