360 posts tagged "MAC Cosmetics"
“Twisted” was the key word of the day backstage at Marni. Both makeup artist Tom Pecheux and hair pro Paul Hanlon used it to describe the look they created. For Hanlon, he was referring to the strands he plastered to the head—reminiscent of “brains,” “bird’s nests,” or “tree branches.” Consuelo Castiglioni said she was “a bit bored” of the simple styles she’d seen thus far in Milan, the mane master explained, so he crafted something more extreme—a look that might belong in an “enchanted forest” alongside the vibrant furs, floral prints, and feathers incorporated into the collection. He doused hair from roots to ends with mousse before coiling pieces over the top, covering the crown with a stocking cap and blowing it dry. “Basically, it’s the same effect as if you had a towel on your head and you keep twisting it around,” he explained of his technique. The top half was then locked in place with hairspray, but the length was left down and “dry.” Of the finished product he said: “It’s like a wicker basket—you don’t know where the hair stops or starts.”
To give the skin a “waxy” feeling, Pecheux reached for a highlighter, but not in a shade one would normally think to dab on the high planes of the face. Instead of your typical metallic, he employed MAC Cream Colour Base in Breaking Ground (a mauve-y gray) on the lips, lids, and brows. “Under the light it gives [the complexion] a weird tone and texture,” he noted. The products used to contour the cheeks were equally as unexpected as the chunky heels spotted on today’s runway: Lipstick in Siss (a deep nude) and Myself (a rose hue) were used to create an unusual flush. Lashes were left bare, and powder was dusted on sparingly to cancel shine in certain places (such as under the eyes). “Since the hair is so fucked up [meant in the most complimentary sense of the word], we needed the skin to be extremely polished,” he said.
“Peter doesn’t like makeup.” It’s a tale we’ve heard before of the artistic director. This season, however, he wanted to “do something fun,” noted makeup artist Yadim. Pulling inspiration from the brocade (Look 43) and beaded pieces in the collection, he crafted a “modern-day Veruschka,” using a gold powder that he wet before gilding the forehead of ten select girls. “That’s where that desert warrior woman comes in,” he said of the metallic treatment. The majority of models were kept rather natural in comparison: MAC Cream Colour Base in Pearl was tapped onto the high planes of the face, a taupe shade was used to gently contour, and a beige shadow was washed across the lids and blended up into the brows before a shimmery brown lipstick was layered on top for shine. To provide definition, a black pencil was drawn along the water line, but not smudged. “This is very precise and strict,” the pro emphasized. Lashes were left bare and cheeks were flushed with Ladyblush, a cream formula, to help the girls “look alive.”
Dundas may have proposed a pony, but for mane master Luigi Murenu your standard tail simply wouldn’t do. To lend a “rock ‘n’ roll” vibe that still felt romantic, he worked Kérastase Mousse Bouffante through strands before blow-drying, then wrapped hair loosely around a one-inch curling iron, leaving the ends out. After the texture was in place, he divided the length into three sections and made a short, low plait. “One, two, and done,” he said, crossing the pieces over one another before tying it off with a band. “There are a lot of collars [in the collection], and this can be tucked inside,” he explained, pointing to the barely-there braid. With Eva Herzigova waiting for him at his station, he succinctly summed up the “strong identity” of the Emilio Pucci woman for Fall 2014: “She’s got a chic bohemian feeling, but she’s no hippie.” That much we know for sure.
A ring of fire surrounded a pool of water in the center of the circular runway, but the collection at Roberto Cavalli wasn’t Hunger Games-inspired, although Look 36—a gown with flames rising from the hem—might have said otherwise. In fact, there was no muse at all, noted Guido Palau, who doused strands with Redken Shine Flash for a “greasy” vibe before raking them with his fingers into a chignon. He then tied off the length with elastic before personally coiling and pinning all of the models’ “messy knots” into place. The bits he pulled out in front for texture were set in place with Forceful 23 hairspray. “When it gets too overcomplicated, it doesn’t feel sexy anymore,” he said of the relatively simple style.
The makeup by Diane Kendal, however, was a bit more dramatic. The face painter crafted “smoky, extended eyes” that were squared off at the outer corners to avoid a “catty” shape. (There were plenty of felines dangling from models’ necks in pendant form, courtesy of the designer.) A combination of black and brown liners was used in order to create a sense of depth. “Black can be too hard,” Kendal explained. A champagne shadow from MAC was tapped on the center of the lids, a powder blush was rubbed into cheeks with fingertips, and lips were topped with Siss, a flesh color.
Keeping with the nude nail theme that is already quite rampant for Fall 2014, MAC senior artist Keri Blair blended two lacquers, Quiet Time (a cool, grayish hue) and Thimbleweed (a warm, peachy shade), to create a polish that flattered a range of skin tones. “It feels a little bit dirty,” she explained. “It’s a rock ‘n’ roll nude.” Standard beige clearly wouldn’t do—the Cavalli woman needs a manicure worthy of pyrotechnics.
Instead of McDonald’s fries, Hershey’s chocolate bars, or Budweiser beers, hair pro Paul Hanlon served up wigs with an “at-home haircut” feeling backstage. His iPad was filled with reference photos of Mia Farrow, Jean Seberg, and Edie Sedgwick, but he did give the “all-American icons” Jeremy Scott incorporated into his first collection for Moschino some thought: “There’s those SpongeBob Square things [on some of the clothes],” Hanlon said. One beauty editor piped up, “You mean SpongeBob SquarePants?” His reply: “Yeah, him.” The faux strands weren’t meant to look real—the main reason being budget, but also out of practicality. “It lasts for seven minutes, why not just go for it?” he said of the look. Hanlon’s special touch was yanking the wigs back so that the choppy fringe rested directly on the hairline. “Otherwise it could look a little salon,” he explained.
“There’s a slight Linda Evangelista inspiration with these straight, very boyish brows,” said makeup artist Lucia Pieroni. The perfect skin was influenced by Peter Lindbergh’s photos, which she re-created using a light base of foundation, highlighter (MAC Eye Shadow in Vanilla), and a wash of Cream Colour Base in Pearl on the lids. Eyes were emphasized along the socket with Pro Longwear Paint Pot in Groundwork. Lips were slicked with a range of nude lipsticks depending on each model’s skin tone. “This is very simple and beautiful,” Pieroni said, referring to the face. “It’s all going on everywhere else.” I think the decision not to compete with Chester Cheetah, Ronald McDonald, and Mr. SquarePants was a wise one.
This season, Giles Deacon moved on from his usual gothic location and into the heart of hipsterville near London’s Spitalfields market. It was a show that made the headlines for a bunch of reasons, namely its cast, which included Jourdan Dunn, Cara Delevingne and, in her London fashion week catwalk debut, Kendall Jenner. And let’s not forget the first-ever selfie straight from the runway (courtesy of Delevingne).
The action backstage before the show, however, was equally exciting. “Melancholy with a touch of techno.” This is how Label M’s global creative director, Sacha Mascolo-Tarbuck, described Giles’ Fall 2014 offering. The clothes, with their nature-inspired prints, were in stark contrast to the hair, which took its cue from girls who ride motorcycles. After being doused with Label M Sea Salt Spray, strands were brushed forward and blow-dried so that a crisp and matted texture was locked into the length. Next, a hair net was placed over the crown and blasted again with the dryer, this time using a diffuser. The effect, once the net came off, was that of helmet hair—flat and tight around the head.
Makeup artist Lucia Pieroni used MAC Eye Shadow in Copperplate over the lid and into the socket for depth before topping it with Scene (a smoky gray)—diffusing the pigment up toward the brow and outer corners to form an almondlike shape. To darken the upper lash line, Pieroni used Technakohl Liner in Graphblack and Eye Shadow in Carbon. And for a pop of vibrant color, Chromagraphic Pencil in Cyan was boldly etched along the entire length of the lower lashes and into the inner corners of the eye—picking up on the vibrant feathers of the kingfisher bird motif that flew in and out of the collection.