360 posts tagged "MAC Cosmetics"
The much discussed Yoko Ono-Threeasfour collab that finally debuted last night at Milk Studios extended beyond the covetable printed pieces that were inspired by Ono’s dot drawings. That pointillistic body art that graced models’ faces? Also all Ono. Referencing pieces of paper printed with a number of different Ono originals, makeup artist Andrea Helgadottir and her team meticulously re-created the designs around models’ eyes using MAC Penultimate Eye Liner, which resembles a very fine-pointed felt-tip marker. It was actually one of the more gratifying backstage encounters I had all week, in which MAC’s Make-Up Art Cosmetics acronym seemed particularly relevant. It also gave me a great, minimal Halloween costume idea in which I could create a geometric design around my eyes using said liner as well as a few MAC Pigments mixed with grease and go as a Mondrian. Yes, it’s a cop-out, but sometimes the pressure to come up with that perfect, high-concept outfit can be too much, don’t you agree?
“It’s a very ethnic collection,” makeup artist Tom Pecheux said about Catherine Malandrino’s Spring presentation yesterday, and he wasn’t kidding. As our fashion reporters noted, Malandrino chose four distinct regions from which to draw inspiration, and corresponding beauty schemes were designed for each. Pecheux had it easy, though. He was charged with one globe-spanning look, which consisted of a smudged eye—created by jostling wet, freshly applied mascara against the eyelid—a simulated sunburnt cheek from a few finger swipes of MAC Pro Sculpting Powder, and a minimal matte, brick red lip achieved with MAC Lip Pencil in Chestnut. Slightly more complex was Bumble and Bumble’s Laurent Philippon’s assignment to execute four entirely different hairstyles. And so to the Sudanese clanswomen went the cornrows-cum-pompadour, in which hair was prepped with Bb Tonic Lotion for shiny pliability, divided into sections, and twisted toward the top of the head before being gathered and rolled into a faux-hawk. Peruvian tribe members got a middle part with two French braids that were sewed together at the bottom for the illusion of fluidity. The Saharan nomads sported hair turbans, crafted with a hefty helping of Bb Surf Spray for a gritty matte texture and Hair Powder to further the illusion of flecks of desert sand. And the Polynesian natives wore classic long waves that were set with two Pippi Longstocking braids before being finger-combed for flow and definition. Philippon mentioned that this was his first collaboration with Malandrino, and judging by his handiwork, it won’t be his last.
East L.A. gang girls. Menacing condors. Maori tribeswomen. Makeup artist James Kaliardos rattled off all of these things at Rodarte yesterday, where he was attempting to create “the dark side of beauty.” With a charred black lip and a series of full-sleeve, half-sleeve, and neck tattoo designs courtesy of MAC senior artist Chantel Miller, his efforts were an overwhelming success. Starting with a minimal base, Kaliardos dabbed concealer under models’ eyes and brushed a dark mauve shadow on their lids for contour. Keeping everything “simple and strong,” he skipped the mascara and blush, and focused his energies on the lips, where he filled in the middle with strokes of MAC Lip Pencil in Beet and then used an angled brush dipped into MAC Pro Lipmix in black to line the rest of the mouth. Nail connoisseur Deborah Lippmann echoed Kaliardos’ trip to the dark side with her new “Funky Chunky,” a sheer, texturized black lacquer that goes on slightly more uniformly than Marquis Moon, the sequined silver shade she premiered at this show last season. As for the hair, Odile Gilbert explained her coifs in a single word: “Beautiful.” The stylist treated the models’ tresses with Aveda Pure Abundance Hair Potion to create a salt-water texture and then laid a piece of wool on top, spraying it with hairspray so that it adhered to the hair. Gilbert referenced Edward Curtis’ evocative images of the American West and Native Americans as the basis of the look, although her inspiration really came from the unique way the Mulleavys work with knitwear and the wholly different vantage point from which they approach their designs—a universal appreciation that resonated backstage.
To elaborate on the short-story theme Tuleh designer Bryan Bradley penned for his Spring presentation yesterday, he chose one of history’s more fascinating characters as backstage muse. That would be Marilyn Monroe, albeit a slightly disheveled version of the iconic actress—”Or me, doing a teenager’s take on Marilyn,” explained makeup artist Polly Osmond. That translated to matte skin and layered pink lids courtesy of MAC Eye Shadows in Rosy Outlook and Perky, which were rimmed on top with MAC Fluidline in Dipdown, a chocolate brown gel that looked infinitely more modern than the Some Like It Hot star’s signature black liquid flick. A similarly rosy pout, painted on with MAC’s forthcoming Lipstick in Victorian—a vivid light pink color that’s a softer, more wearable version of cotton candy—kept this Marilyn firmly in the twenty-first century. For better or worse, Osmond can really only do pure perfection, so the disheveled bit came from the hair department, where R-Session Tools’ Kevin Ryan was running the show. Applying generous amounts of Aveda Volumizing Tonic and Pure Abundance Hair Potion on sections before winding them around a one-inch curling iron, Ryan rolled brushed-out, back-combed tresses and pinned them under to create a “beat-up version” of Monroe’s famous bob. “It’s a bit messed up, not too perfect—Marilyn the morning after, though hopefully not her last morning,” Ryan said. More sexy, less tragic in 2010.
Nothing says “American sportswear” quite like the image of the girl-next-door models that dominated the 1970s and early eighties —Brooke Shields, more specifically whose long locks and big bushy brows defined the era. To properly simulate the Blue Lagoon star backstage at Alexander Wang yesterday, Redken’s Guido Palau added long extensions to models’ hair for drama, prepping them with Redken Thickening Lotion to provide a texturized, matte effect. Then he crafted thick, low-slung braids that he brought over to one side (commence long hair envy), which he complemented with make-shift bangs that were pulled over the right eye for asymmetry. “The more disheveled you can get it, the sexier and cooler it is,” Palau said of the All-American but still “rocker and not perfect” look. Makeup artist Diane Kendall stuck to a similar theme, mimicking Shields’ wholesome appeal by keeping models’ faces clean, save for a few upward strokes of a MAC Eye Pencil to acheive fuller, spiky arches. Interestingly enough, the whole thing worked just as well on the model in that pair of lace-up leather shorts as it did for the girl in those high-waisted Calvins.