20 posts tagged "Milan Fashion Week"
For Pat McGrath’s “Sophia Loren […] in a Greek theater”-inspired beauty, spotted at Dolce & Gabbana’s Spring ’14 show, less was more. The one place the face painter didn’t skimp? Lashes, which were coated generously in the house’s Passioneyes Duo mascara (available at saks.com). The resulting fringe managed to be at once lush and natural, thanks to a formula that includes beeswax and tapioca polymers, which add curl and volume without sacrificing touchability. A curved wand fans and lengthens lashes to proportions befitting D&G’s quintessential bombshell. McGrath opted to use Terra, an appropriately rich chocolate shade, but I’m most taken with Nero, a jet-black that’s big on impact—even when you’re feeling low on effort.
“The makeup [this season] looks as if you did it yourself—almost like the makeup artist wasn’t there. The artistry is definitely [present], but you have to get up really close to see it. It’s sometimes a problem for us backstage because we keep asking ourselves as we’re going around to check the girls, ‘Is she done? Oh wait, yes, she is.’”
Many of the looks we’ve seen thus far for Spring 2014 have been so effortless (such as Marni, shown here), you almost think the models are wearing nothing on their faces at all. Under their flawless façades, however, are a lot of technique and strategic face painting. After all, it’s fashion month—everyone needs a little makeup magic to conceal the late nights and early call times.
This season, there has been quite a buzz backstage surrounding maquillage master Tom Pecheux’s muse, Pascal. He has his own Instagram account (@PascalPascale), where he’s featured on shoulders (including Style.com’s Tim Blanks), in pockets, and being kissed by some of he biggest names in the fashion biz. The white doll has even has his own personal makeup artist, Anoli (a member of Pecheux’s team), that paints his face with the look for every show his adoptive father has keyed for Spring 2014. “It’s a modern world that’s open for anything you want to be, and Pascal is a modern child that can be anything you want to see—him or her,” she says. And I have to admit that today’s graphic eye shadow in particular, seen on Anthony Vaccarello’s runway, really brought out Pascal’s bone structure. While hair pro Paul Hanlon’s crew may have Frida Kahlo as their mascot (as seen in our Editor’s Diary), this backstage fixture sits first class and always seems to snag a window seat on planes to and from fashion locales (just check out his selfies for proof). But all in all, the doll is more than just a blank canvas for Pecheux’s imagination. “[Pascal represents] freedom—freedom of art, freedom of choice, freedom of creativity,” elaborates Anoli. That’s quite a tall order for someone so small.
This season, makeup artist Linda Cantello categorized the Armani woman as “delicate” and the “antithesis of the Prada lady,” which, funnily enough, was one of the few other shows to employ a bold use color on the lids for Spring 2014. The face painter’s approach, however, was less about women in revolt and more focused on creating a “passive” femininity on the runway. And while the underlying theme of the collection was Jardin Majorelle, she grappled with the choice between purple and green (not blue, which would have been too obvious a choice) to pick up on the amethyst and anemonelike tones in the clothes. In the end, a gentle wash of emerald won out. “Mr. Armani was very specific that it shouldn’t be too green—he wanted it to have a diaphanous, photo-transparent [quality],” she explained.
After priming skin with a BB cream to eliminate redness or any lingering effects of summer (i.e., a tan), she used Giorgio Armani Beauty Maestro Foundation to create the “pale perfection” requested by the designer. Complexions were then dusted with powder for a matte—but still luminous—finish. The alluring malachite shade wrapped around lids was a combination of sea foam and slightly deeper jade pigments (inspired by a Sarah Moon image from the seventies that was pinned to Cantello’s mirror). For translucency and the “essence of speed,” she mixed the eye shadow with Fluid Sheer in 2, the lightest hue in the range of radiance boosters. The formula was initially applied with a brush along the crease, outer corners, and lower lash lines, but Cantello used her finger to blend it out and down. To cancel dark shadows, a concealer was dotted on the inner corners of the eyes and a light stain was tapped onto lips to make the girls “look more healthy than dead.”
In contrast to the gentle makeup, the hair by Franco Gobbi was a bit more aggressive. There was certainly an eighties reference, illustrated by the side-swept waves (similar to the swoop seen at Emilio Pucci), and the length was pinned up off the neck to resemble an undercut. To finish, strands were misted with hair spray to lock in the fluffy texture. While I’m not entirely sold on this particular swoosh, Cantello’s gauzy shadow makes being green look absolutely gorgeous.
The last time I saw this many bluntly cut, synthetic ponytails I was watching Madonna take the stage for her Confessions Tour, wearing an equestrian-style top hat with a black horse tail attached. But instead of stallions serving as the reference for the hair at Missoni, mane master Eugene Souleiman was shown a Richard Avedon photo that featured a model sporting a braided updo that looked “fake,” he explained. To bring this idea to the runway, he attached a glossy, back-grazing extension to a ring (made by the house), rather than incorporating the faux, “plastic” strands into the actual style. “I wanted it to look like an accessory rather than hair,” he added. He reiterated the point by contrasting the pieces with each model’s natural color.
After making a side part in front, Souleiman misted the models’ real hair with Wella Ocean Spritz to create a raw texture and scraped it back into a ponytail, which was secured with a string of black elastic. The length was then threaded through the ring, folded close to the pony’s base, and wrapped once again with elastic—leaving the handcrafted accoutrement hanging from a newly formed loop.
The makeup by face painter Lucia Pieroni played off the four-elements (earth, wind, water, and fire) theme of the collection. The skin was left dewy to provide a “liquid” finish, while cheeks were gently contoured with a MAC Paint Pot in Groundwork (here lies the earth). Also inspired by Japanese girls, Pieroni traced a graphic band of Black Track Gel Eye Liner along the upper lash line, into the inner corners, and wrapped the formula underneath the eye—ending it just before the pupil. To clean up the shape, pointed cotton buds were employed by the pro. A shimmery silver eyeliner was washed across the lids and brow bones, lending a subtle hit of sparkle and Tokyo pop to the architectural look.