96 posts tagged "NARS Cosmetics"
When makeup artist Lucia Pieroni asked Christopher Kane for his Fall hair and makeup directive, he replied rather uncharacteristically. “There isn’t one,” the designer reportedly told the face painter. “This isn’t about a big ‘look.’ Rather, it’s about individuality,” Pieroni elaborated backstage. “We’re enhancing each girl, so that when they walk down that catwalk, they just look like better versions of themselves.”
Perfecting the skin with NARSskin Optimal Brightening Concentrate and its Luminous Moisture Cream, Pieroni did promote some uniformity via the flawless base that she created, using different shades of NARS Sheer Glow Foundation dotted with its Radiant Creamy Concealer. Cheeks were contoured with its forthcoming Single Eyeshadow in Yamal, a chocolatey brown, while cheekbones got a pearlescent glow courtesy of its Multiple in Copacabana. Depending on the model, Pieroni then drew a very fine stroke of NARS Larger Than Life Long-Wear Eyeliner in Via dei Martelli close to the upper lash line to create definition.
In an interesting turn of events when it came to models’ manes, Kane brought in the big guns for his first show as part of the PPR family, in the form of Redken creative consultant Guido Palau—who, it should be noted, is typically a scarce sight in London. Prestige aside, Palau kept with the same light-handed approach, having models wash their hair with Redken Clear Moisture Shampoo before they arrived for their early morning call times. Then, dampening strands and rough-drying them with his trusty BaByliss Volare 1 dryer, Palau fashioned deconstructed center parts. “I’m not even using a brush,” he boasted, letting his fingers encourage a natural wave to “bring a touch of ease to the fashion.”
Upon arriving backstage at Marc Jacobs, editors were herded into a small white room turned molten orange with a smaller version of the Olafur Eliasson-inspired “sun” that Jacobs used in his show. The point: to illustrate how the makeup that François Nars designed for the occasion worked in the sepia tone and the regular light when the effect was turned off. “We needed something that would look good in both,” he confirmed of the purposefully black-and-white design.
“We looked at a lot of reference pictures of Marianne Faithfull and Joan Jett,” Nars said, speaking to the “underground, rock ’n’ roll” quality of the heavily rimmed eyes that he lined with his Eyeliner Pencil in Black Moon before topping that with the forthcoming Eye Paint in Black Valley and his Eyeshadows in Pandora and Bengali. The inner rims were traced with a pure white pigment to create a wider appearance, while lashes were treated to multiple strokes of his Larger Than Life Volumizing Mascara. “This is the way Marc likes his models,” the makeup artist continued, working on a perfectly matte complexion using NARS Radiant Cream Compact Foundation. “I didn’t want any shine,” he explained, as not to pick up a streaky pallor from the light—except on lids, which got a slick of his Triple X Lip Gloss before models hit the catwalk. Arches were groomed and filled in with Nars’ Brow Perfector in Kalamata, a dark brown, so they were still a visible force beneath models’ uniform fringe. “We’re making them all brunettes,” he joked.
Although it was Guido Palau, in reality, who was turning every model a shade of chestnut in varying degrees of darkness. Palau was a bit less forthcoming with his reference points, calling out “cool girls” in the nineties, an old Kim Pierce Vogue Italia shoot, and the model Edie Campbell, whose hair he cut short for an editorial back in November. But to be fair, the Redken creative consultant was swamped. While all fifty-five wigs were cut before the show, Palau hand-shaped each one with a razor, on every single model, to tailor it to their head and face shape. To get the “raw, real” texture he was after, he prepped the hairpieces with Redken Guts 10 Volume Spray Foam to create a “choppy, spiky” effect before adding a few concentrated spritzes of its Shine Flash 02 Glistening Mist for a wet-looking finish. “[I wanted it to have] a sweaty feel,” he said, placing a wide black band on top of freshly trimmed bangs. The models, who had assembled backstage at the Armory a cool six hours before showtime, seemed to dig it. “I’m thinking maybe a mullet next,” hair chameleon, and Jacobs’ muse, Ruby Jean Wilson exclaimed.
Wearing makeup to the beach is a questionable move, although if you grew up in a NorCal surf town, like Rodarte’s Laura and Kate Mulleavy, it was probably also hard to avoid. “It’s the idea of mascara that has been applied on the beach,” James Kaliardos said of the makeup look he created for the sister duo’s Fall Santa Cruz-themed collection. “It’s a bit messy,” he continued, “as if it fell onto [models'] faces.”
Dusting lids with NARS Single Eye Shadow in Bengali, a matte dark brown shade that Kaliardos swept underneath the lower lash line as well, he worked its forthcoming Eye Paint in Mesopotamia, a similar shade, through the crease to provide a little slip. Then, taking NARS’ as-yet-unreleased Larger Than Life Long-Wear Eyeliner in Via De’Martelli, a dark chocolate, he dotted on a chunky, “speckled” bit of pigment for a haphazard effect. NARS Larger Than Life Volumizing Mascara added additional dimension to lashes while its Velvet Matte Lip Pencil in Belle de Jour gave pouts a subdued nude finish.
Odile Gilbert was going for a “rocker princess” look, which she achieved by building a “cool, undone” texture into models’ manes. Prepping hair with John Frieda Frizz-Ease Curl Reviver Styling Mousse, Gilbert took strands through a two-inch curling iron to create a loose bend. Brushing out the waves for a more natural appearance, she created interwoven plaits on either side of the head, which were joined together in a rosette that segued into a single braid in the back. Using Frizz-Ease Hair Serum Thermal Protection Formula on the ends to create piecey separation, Gilbert crowned select models with barbed-wire headbands, including Nadja Bender, Irina Kravchenko, Kate King, and Tilda Lindstam.
There’s always a bit of a downtown, cool undertone to the beauty look at 3.1 Phillip Lim, which is why it was surprising to hear NARS’ Francelle Daly describe the makeup as “uptown sophisticated.” “She’s a girl with an edge, though,” Daly added. “Like she has a rock ‘n’ roll boyfriend—or is in a band.” Phew.
The sophisticated bit was a reference to the flawless skin Daly achieved by combining NARS’ forthcoming Radiant Cream Compact Foundation with its Light Reflecting Loose Setting Powder. Cheeks received a slight flush courtesy of its Highlighting Blush in Miss Liberty, a light peach, and its Multiple in Copacabana, a shimmering champagne, while lids were given a camo tone with NARS’ new-for-fall Single Eyeshadow in Yamal. Then came that pout, which offered an interesting update to Fall’s favorite mulberry mouth while “complementing and finalizing” the look, according to Daly. Lining and filling in lips with NARS’ Lip Liner Pencil in Kenya, a cinnamon color, Daly layered that with its Eye Liner in Mambo, a dark cocoa, for an ultra-rich chocolate-cherry hue. “There’s an expensive taste to it,” she said.
Paul Hanlon did his part by honing in on a specific texture that he described as “a little Kate Moss”—a favorite inspiration for Hanlon’s special brand of deconstructed chic. Prepping hair with Frédéric Fekkai Full Blown Volume Styling Whip to give it a bit of grip, Hanlon administered a relatively done-up blow-out to start. “We’re making it beautiful, then we’re destroying it,” he explained, “because if you start with a destroyed texture, it can look poor.” Then, spritzing with Fekkai’s Luscious Curls Wave Activating Spray, Hanlon ran sections of hair through a curling iron to give it movement, side-parting strands and “clumping” them together in the back with bobby pins, “as though it had been caught in a scarf.” Another pin was also slipped above the ear on one side in a haphazard way so that it appeared as though “the girls literally walked off the street and into the show.”
Blue eye makeup was a big hit on the Spring runways and it has already had a few standout showings for Fall too—with good reason, according to Diane Kendal. “Midnight blue gives off a winter feel,” the makeup artist explained backstage at Thakoon, where she was layering NARS Single Eyeshadow in Outremer, a deep indigo, with its new-for-Fall Eye Paint in Ubangi, a similar shade of cobalt that was given a shimmering blue accent with its Duo Eyeshadow in Marie Galante. “The collection has fur stoles, but it’s inspired by summer clothes,” Kendal said, referencing the dragonflies and dandelion prints that adorned the designer’s pieces. “We wanted to reflect that with the makeup.” To wit, she implemented a warm-weather beauty staple that has long gotten the youth vote: glitter. “I’m using three of them,” Kendal effused, applying a liquid set to hold the deep bronze flecks that were diffused toward the outer corner of the eye, while gold sparkles were dusted across the center of lids, and a pink shade was tapered inward. Nails were flecked with clear silver sparkles, courtesy of a single coat of Priti NYC’s Bristol Fairy. To finish the face, Kendal chose to skip lip color—as well as lash lacquer. “Sometimes when you put on mascara it can look old,” she surmised.
Odile Gilbert instituted her own fun and flirty element into an otherwise simple series of chignons via a graphic, micro fringe glued halfway across the hairline. “It’s like you have a little hat on the side of the head,” she said, coating roots with Kérastase Paris Resistance Ciment Thermique to create a sleek finish, as she tightly pulled hair back away from the face, revealing a gem-encrusted ear cuff worn by ten of the shows more elite catwalkers, including Aline Weber, Bo Don, and Xiao Wen.