9 posts tagged "Lucia Pica"
After a full month of shows and three intense weeks of production, the fourth issue of Style.com/Print is here! And as our biannual glossy starts populating newsstands across the globe, it will become increasingly difficult to escape the lasting image of Ellinore Erichsen’s deep, kohl-rimmed cover glance, which is thanks to the magnificent handiwork of one Lucia Pica. “Ellinore was supposed to be more of a rebel—a cool goth-y girl in the school,” the makeup artist explains of the direction for the story, which took us inside Christopher Kane’s high school in Scotland to get a real glimpse of the environment from where his genius came. Here, photographer Alasdair McLellan’s go-to face painter explains the ins and outs of the on-set creative process, how to get Marta Dyks’ killer spider lashes, and what makes a rule breaker where makeup is concerned.
What was it like working with Alasdair and Christopher on this story, and how did you come up with the idea for the makeup look?
“Normally, you talk about the story and interpret it. For this, it was all about Christopher’s background. We went to his school and a music hall, so we wanted to represent two girls. One of them, Ellinore, was more of a rebel—a cool goth-y girl in the school—and that needed to translate throughout the story, so I kept the smoky eye, and then when we moved locations and switched outfits, I gave her more of a goth look, with a dark matte mouth. Marta was more of the wide-eyed, natural-beauty kind of girl in the group. Working with Alasdair for so long, I know the things he’s attracted to, and I really relate to his aesthetic. We always have to be open to changes, though; it works or it doesn’t. Funny enough, we did this makeup, and we weren’t sure if we had done too much, so we took it off and tried a few different things, but then we went back to it!”
I can see why. Ellinore’s smoky eye is beautiful. How did you get just the right amount of smolder without going overboard?
“I really wanted it not to feel too glamorous. But when I say, ‘organic,’ or ‘homemade,’ I don’t mean not well done—just more lived-in and less technical. So I used a black Givenchy Magic Kajal Eye Pencil, and I blended it around the eye and mixed it with MAC Eyeshadow in Smolder. Then I added a little Vaseline to make it balmy. Another good feature to give it that gothic tint was the thin brow. I used MAC’s Eyebrows in Velvetone. Then we put loads of mascara, like when rebellious teenage girls put a mountain of mascara on and it looks amazing and you’re like, ‘How did they do that?’ “
Between the nonstop shows, the potential for inclement weather, and a party schedule that can make you tired just looking at it, fashion week is an incredibly grueling seven days—no matter who you are. From makeup artists and designers to front-row regulars and street-style hopefuls, everyone needs a little pick-me-up when the Fall collections descend upon New York. Here, ten of our favorite insiders open up their makeup bags to reveal the beauty essentials that help brighten up even the darkest moments.
Black cat-eye liner was the eye makeup trend of the Spring season (click here for more of our top ten beauty moments), but there was another unlikely eye pigment shade that got a fair bit of play: red. It turned up in varying degrees of opacity—from a wash of color at Clements Ribeiro and Anna Sui to a much more “fab, fun look,” as Pat McGrath referred to the heavily rimmed crimson lids she slicked on at Miu Miu. “It’s really the idea of a splash of color—be it red, blue, or green,” McGrath explained when we recently had the pleasure of recapping the season’s most significant beauty developments with her. “It’s not like every girl is going to be walking around with red lids.”
But if you do want to give the look a whirl, there are myriad ways to successfully go scarlet. For a more subtle effect, try buildable semi-sheer pigments, like MAC Pro Chromacake in Crimson and Coral, which makeup artist Lucia Pica smudged across eyes at House of Holland for a “watercolorlike” finish; or go with a creamy blush, like CoverGirl and Olay Simply Ageless Sculpting Blush in Lush Berry, which McGrath multitasked on eyes and cheeks backstage at Anna Sui. To go bold with the fiery hue, McGrath recommends tracing upper lash lines with—get this—lipstick, and coating that with a professional-grade pigment in the same color. In a recent trial run, we found chubby lipstick pencils, like Mirabella’s new Velvet Lip Pencils in Red Velvet, are the easiest tools for the task. Top that off with a theatrical red shadow, like Lime Crime’s Magic Dust Eyeshadow in Siren, and you should be good to go.
Roksanda Ilincic’s Spring collection may have had a slight fifties influence to it, but she had her beauty team focus on an entirely different decade. “We went with a nineties, grungy look,” hairstylist Marc Trinder said, focusing on “hung-over Kurt Cobain hair” that he air-dried with his fingers, coating strands with “a lot” of Charles Worthington Frontrow Serum for piecey-ness. Makeup artist Lucia Pica drew inspiration from that other grunge icon: Kate Moss. “The girls are supposed to look more magazine grunge than street grunge—more Steven Meisel than Corrine Day,” Pica elaborated, creating a slightly warm base with St. Tropez Naturals Radiance Self-Tan for Face topped off with a soft yellow, peachy flush courtesy of MAC Blush in Dusty Coral and a muted yellow Chromacake. Then things got really interesting. To capture those quintessential nineties brows, “the skinny round ones we all used to have when we were younger, that we’re lucky grew back,” Pica broke out some clever makeup trickery. Rather than maniacally pluck out individual hairs until nothing but a thin arch remained (commence high school flashbacks now), she brushed a bit of MAC Lip Erase through roots to take them down a bit before drawing in a half moon shape with MAC Brow Pencil and blending it for a diffused finish. The effect isn’t quite as severe as the original, but it also isn’t as permanent; if only we knew then what we know now.
With influences as far-flung as Shane Meadows’ 2006 film This Is England, about a group of skinheads in 1983 London, and what he termed “pastel punk,” Henry Holland gave his glam squad plenty to work with for Spring. And believe us when we tell you it was a legitimate squad, featuring Lucia Pica on makeup duty, Sophy Robson heading up nails, the Percy & Reed salon’s Adam Reed and Paul Percival tending to hair, and St. Tropez’s Nichola Joss taking care of the skin. “It’s supposed to look bold, but not glamorous,” Pica said of the makeup look, which focused on a peachy red, heavily lined eye. Blending shades of MAC Pro Chromacake in crimson and coral, Pica smudged lids for a “watercolorlike” wash that resembled the natural undertones of the truly pale. Beneath the bottom lash line, she etched a thick black stroke using MAC Eye Kohl in Smolder, which she topped with its Fluidline in Blacktrack and an extra dusting of matte black shadow so it looked “fairly lived-in,” Pica said. A few coats of “pulled-out” mascara and a completely bare lip finished the face, which was given a heavy hitting of shine, courtesy of MAC Shine Mixing Medium and St. Tropez’s Skin Illuminator in Rose Gold, before models strode out onto the runway.
Joss was also after shine, which she imparted to exposed legs, arms, and clavicles using St. Tropez’s Wash Off self tanner that was sprayed on in a mobile booth erected backstage. “It’s very British,” she said of the finish, which, for the record, bore zero resemblance to the stereotypical orange faux glow preferred by some locals. Instead, Joss imparted a dewy quality to skin—as though “the girls had been out partying,” she said. “This just evens it out and gives an undercurrent of glow so you can put an illuminator on top.”
Reed was going for something quintessentially British, as well. “It’s a mod finish,” he said of the hair, focusing his attention on a severely sleek updo that was prepped with the Reassuringly Firm Session Hold Hairspray from his newly launched Percy & Reed product line. Straightening with his trusty Babyliss iron, Reed created a top section of hair that he pulled back at the temple and pinned with a long, rose-gold barrette, before gathering the rest of the lengths into a low ponytail and securing with a second barrette at the nape of the neck. To add “quirkiness,” he gently “ruffled up” some wispy sideburns. Robson also brought the quirk, fashioning half-done, candy-colored tips that benefited from a sponge technique bringing three different Leighton Denny lacquers in a pale lavender, mint green, and peach halfway up the nail bed, which had been filed into a round shape. “They’re supposed to look chipped,” she noted.