12 posts tagged "Mary Katrantzou"
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.
“I’m glad to be getting back to my roots,” Eugene Souleiman joked—no pun intended—backstage at Mary Katrantzou, where the hair hero and Wella Professionals global artistic director made his grand return to London fashion week after a five-year hiatus. He picked a good show for his comeback, too; Katrantzou’s whimsical prints pack plenty of power in the way of beauty inspiration.
“[They're] very conceptual,” Souleiman admitted of the designer’s Spring fabrics, which included colorful, graphic adaptations of exotic stamps and banknotes, which caused the coiffeur to stay the “couture and sharp” course with the hair in complement. “The detail of the clothes needed something minimal to go with it,” he elaborated of the four-section updo that was based loosely on the aerodynamic shape of a “cycling helmet.” Prepping strands with Wella Create Character Texturizing Spray, Souleiman built a tight bun with the bulk of models’ lengths to anchor a panel of hair from the right side, followed by a panel of hair on the left side that he wrapped and secured on top of the chignon. A front section of hair was then combed backward and set with Wella Finish Shimmer Delight Shine Spray to “elongate and extend the shape of the head in a slightly alien way.” An additional otherworldly element came from Josh Wood, the London-based colorist who dyed a few girls, including Australian stunner Chrystal Copland, a platinum shade akin to “crisp linen” using Wella’s new Illumine range.
Makeup artist Val Garland’s contributions centered around a “ballpoint blue eye that referenced the inky colors of an English pound” (editor’s note: Blue is the new black when it comes to eyeliner for Spring). The precise shade of matte midnight pigment was a mix of two MAC Lipmixes in Blue and Red, which Garland drew onto the upper lash line in a thick, elongated, almond shape to adhere to Katrantzou’s mandate that the girls look “modern and linear.” Garland ditched mascara altogether and gave lips a clear moisturized finish with a swipe of MAC Lip Conditioner. Her intention was to keep skin looking “polished,” which was just fine with St. Tropez skin finishing expert Nichola Joss, who was giving models a “velvet tan” by buffing St. Tropez Instant Glow Wash Off Mousse mixed with its Body Butter into skin with a mitt, to which she added a light layer of St. Tropez Rose Skin Illuminator for a pastel sheen.
The classic sixties cat-eye had a major second coming for Spring after it turned up on runways on both sides of the Atlantic. From Ruffian and Jonathan Saunders to Dolce & Gabbana and Kanye West, perfect black flicks in varying lengths and widths were the makeup accessory last season. As Charlotte Tilbury pointed out backstage at Donna Karan’s Fall show, “it’s all about eyes” again this season. But while winged liner shapes enjoyed a colorful update in New York, appearing in shades of red at 3.1 Phillip Lim, chartreuse at VPL, burnt orange at Narciso Rodriguez, and blue at Anna Sui, they’ve gone graphic in London. Andrew Gallimore debuted “floating” flicks backstage at Erdem, while diffused edges that squared off the outer corner of eyes was the look of choice at Aquascutum. Yesterday, makeup artist Val Garland started her obsidian line at the nose bridge, etching an abstract stroke towards the socket that stops before coming to a geometric point at Mary Katrantzou. The clever thing about all three techniques is that when the models’ eyes were open, the black pigment passed for a relatively normal uptick—making the visual trickery that much more impressive to the informed observer. Consider yourself in the know.
Vogue China just debuted its Fall collections book which, interestingly enough, stars Natasha Poly having a particularly Spring beauty moment. Matte lips in a range of off-kilter colors popped up on both sides of the pond this season, making their first appearance in New York at Richard Chai’s “Japanese surfer girls” show where models like Lindsey Wixson and Emily Baker trotted out onto the runway with flat-finish blue, and purple mouths. The evolution of the statement lip continued in London at Mary Katrantzou thanks to makeup artist Val Garland, who used a treasure trove of metallic MAC Pigments to create lime, aqua, and tangerine mouths (Garland repeated the trick in Paris at Thierry Mugler making gold-green her single color of choice). It’s not the most translatable look off the catwalk but there is a method to the madness, should you want to give it a go. The trick is blocking out lips with a color-neutralizing cream base like MAC Lip Erase or its Paintstick in White before applying whatever wacky lipstick shade your heart desires. To be fair, Natasha’s yellow pout does look kind of killer with her all-black ensemble. Would you go there?
We’re halfway through the Spring season, and already a few overlying makeup trends have started to crop up from New York to London. Aside from monochromatic color palettes and bold brows, we’ve also noticed a preference for metallic pigments backstage (see Lim, Phillip and Herchcovitch, Alexandre) as well as a bright array of mismatched lip colors (see Lepore, Nanette; Chai, Richard; and Kirchhoff, Meadham). Yesterday at Mary Katrantzou, makeup artist Val Garland managed to get both into one seriously statement pout. “It’s a chaos of color,” Garland said of Katrantzou’s eye-popping prints, which inspired her to incorporate her own dose of full-on flair with eight different custom-blended lip colors. Referencing “smashed-up cars,” Garland prepped mouths with MAC Paintstick in White to create a muted base for a range of the brand’s multipurpose Pigments. Onto a flawless complexion, Garland then pressed applications of Aire, a blue foil; Acid Orange, a sparkling neon mandarin; Electric Coral, a glitter-flecked melon; Chartreuse, a glistening light green; Teal; Old Gold; Rose; and Violet powders onto mouths to create a matte focal point on the face. We’re not sure that Katrantzou’s exceptional fabrics need any help by way of more vividness (a nude mouth would have suited us just fine), but there’s nothing wrong with a “more is more” approach every once in a while.