360 posts tagged "MAC Cosmetics"
Over fashion week you hear a fair amount of obscure references, but if there were an award for most random reference of the week, it would most certainly go to Vivienne Westwood Red Label. The inspiration behind the look this season was a mash-up of Marilyn Monroe’s classic beauty (the red lips and rosy cheeks) and Indiana Jones’ sense of adventure (the windblown-esque set). Makeup pro Val Garland employed her “one-stop shop,” in which the same products were used on both lips and cheeks. She mixed together MAC Lipmix in Red and Orange and stippled the blend onto cheeks with a duo-fiber brush, concentrating the pigment outside the apples. The same color cocktail was painted around the outer edges of the mouth, then smudged in toward the center and out past the natural lip line; this was meant to be a messed-up Marilyn, after all.
Toni&Guy’s Mark Hampton brought Indy and Marilyn to life with two styles: a classic fifties curl created with a medium-sized barrel iron, and a second style revolving around a more disheveled updo. In keeping with this dual personality, manicurist Marian Newman used two different polish shades from MAC: an off-black hue called Starry Skies (out Fall 2014) and Screaming Bright, a sheer gold. To continue the theme, Newman left the nail shape very natural and the edges slightly chipped. These girls are meant to have been on some sort of adventure—climbed a mountain, maybe—so their manicure should be short of perfect.
The surfer girl reemerged backstage for Proenza Schouler’s Fall 2014 show—but not in the matte, dreaded, ocean-soaked sense. Hair pro Paul Hanlon tried that look at one of the multiple tests, but with the “acid colors” and “insane prints” it was ultimately “too much going on.” So he decided on something cleaner, but not “robotic.” Seeing as models’ strands were already doused with a considerable amount of product from a full day of shows, Hanlon misted hair with Bumble and Bumble Prep before putting in deep side parts and sweeping it behind the ears, bending the mid-lengths and ends ever so slightly over an iron. After his backstage team made each girl look perfect, Hanlon “destroyed” the style at the last minute, breaking it down with Brilliantine (a polishing cream), pulling out bits, and artfully crafting flyaways. “My fingers take the edge off, almost like they had a little hat on,” he said.
Diane Kendal provided a dewy sheen by applying moisturizer under and over any base products. The makeup pro then dabbed brown “grease” on the lids and lower lash lines before removing it with more moisturizer and a cotton swab, leaving behind a subtle residue. MAC Cremeblend Blush in Posey was tapped onto the apples of the cheeks, and lips were slicked with Siss (for girls with darker complexions) or toned down with foundation. Lashes were curled, but not coated with mascara—an aesthetic choice we’ve seen Kendal and other artists make multiple times this week. The reasoning: “Not doing mascara is more modern; as soon as you apply it, lashes look pedestrian.” I’ll consider giving my go-to tube a day off.
“It feels a little bit punky, yet at the same time it’s got a futuristic element,” said Charlotte Tilbury of the makeup at Donna Karan’s 30th anniversary show. She began by running MAC’s Eye Kohl in Phone Number (a pewter shade) along the upper and lower waterlines, then smudging it onto the top and bottom lashes. A gunmetal cream shadow was tapped onto the lid, and to “pick up under the lights,” a platinum pigment was blended with Mixing Medium, dabbed around the tear duct, and buffed up toward the crease. For extra sheen, Tilbury glazed over the eyes and tops of the cheekbones with a clear gloss.
The hats created by milliner Stephen Jones inspired the sleek wrapped wet sets. “They’re like the fifties biker caps that Marlon Brando wore in The Wild One…or like Charlotte Rampling in The Night Porter,” backstage pro Eugene Souleiman explained. Mimicking the shiny sides and “dusty matte” tops of the headwear, Souleiman sectioned off the hair at the crown, made a side part behind the ear, and began shellacking strands around the base using a tint brush (normally employed to paint on hair color) and gel (lots of it). The mane master continued up and around past the forehead—completing the circle. To lock in the shape, he took a blow dryer to it for 15 minutes. The dry section previously cordoned off was finally swirled and pinned in place, making it look as if the hair was “melting.” “The girls are loving us,” Souleiman said condescendingly of the rock-hard style. Good thing it was the end of the evening, as this was one ‘do that will require some time (and a shower) to unravel.
Photo: Sonny Vandevelde/ Indigitalimages.com
The ballerina at Diane von Furstenberg was not your typical perfectly coiffed bun head. Instead, “a dancer in rehearsal, not performance,” inspired the undone chignons crafted by Orlando Pita. After pulling the hair into a ponytail at the center of the head, the mane master spritzed a teasing brush with BioSilk Firm Hold Finishing Spray before dragging it vertically from forehead to elastic, making it appear as if the models had raked their strands back using just their fingers. After he coiled and pinned the tail in place, he strategically undid it for a soft, imperfect finish.
Makeup artist James Kaliardos noted the Ballet Russes and refugees leaving the mother country “to embark on a creative life.” He employed techniques normally used by dancers onstage, such as contouring the sides of the face with various tones of concealer and brightening the eyes by rimming the lower waterline with MAC Cosmetics’ forthcoming Technokohl liner in Nude. Wanting a “glossy taupe” shade for the lids, Kaliardos mixed Grey Matter, a cream shade from the Fall 2014 Trend Palette, and Dusty Mauve, a hue from the season’s lip palette. He topped it off with Gloss Crème Brilliance for additional sheen and coated the top lashes with Haute & Naughty mascara. “You know when you see those girls from ballet school and they just look like ballerinas even though they don’t have makeup on? This is what we’re doing,” Kaliardos explained. With all the lithe models milling about backstage, it was almost as if they were waiting for their curtain call instead of your standard catwalk.
Where makeup artist Tom Pecheux started is not where he wound up at Altuzarra. Inspired by the double-faced cashmere in the collection, his first instinct was to create a dual-colored eye. “It looked so uptown…a little bit tight-ass,” he said of the initial attempt. To loosen things up, he reached for a pot of MAC 3D Glitter in Brass Gold (a metallic with a green undertone) that was sitting on the table at the test, and the look suddenly fell into place. Or as the designer’s mother, Karen Altuzarra, quipped, “It was dumb luck.” To give the glitter something to grip onto, he prepped lids with concealer or foundation. Next, he coated a thin brush with Homeoplasmine before dipping it into the sparkles and running them along the upper lashes like liner. For a diffused effect, Pecheux used a dry, fluffy brush to pat more shimmery particles lightly up toward the brow bone. The rest of the face was kept neutral—including the lips, which were layered with a pink (Myself) and beige (Siss) hue to create the perfect flesh tone. And just before the models took to the runway, Pecheux placed lipstick in Good Kisser (a vivid fuchsia) messily into the crease of six models’ eyes. “We need to show luxury, but we have to be playful,” the face painter noted.
“Here is ballerina, here is madame, and here you don’t think,” hair pro Odile Gilbert said in regards to the placement of the textured chignons that rested squarely at the back of the head. She used nothing but her fingers to scrape strands back before coiling the length and securing it with “just three or four pins.” The finished product was meant to mimic how Kate Moss would craft her own bun. And honestly, who wouldn’t want to DIY that?