122 posts tagged "NARS Cosmetics"
“When I saw the collection, it reminded me very much of who I was as a teenager,” said makeup artist Francelle Daly. Apparently, the face painter had Siouxsie & The Banshees, Nina Hagen, and Culture Club on repeat, as those were her references for the look at today’s show. Daly focused mainly on creating a squared-off eyebrow—taking the shape straight across and lending a bit of a curve to keep arches less “robotic” and more “feminine.” Lids were left naked, lashes were curled and coated with NARS Larger Than Life Lengthening Mascara, and a combo of Nico and Zen blush was lightly dusted in the contours of the cheeks with a powder brush. Nails were painted with Crossroads, an eggplant-like lacquer from the designer’s forthcoming polish collection with the beauty brand.
For hair pro Paul Hanlon, Bryan Ferry and David Bowie acted as inspirations, along with eighties Esprit catalogs and photos taken by Herb Ritts and Bruce Weber. Fellow stylist Didier Malige was also on Hanlon’s mind. “I’m a big fan of him,” he said. Hanlon began by working Moroccanoil Volumizing Mousse through the mid-lengths and ends, and misted Root Boost in front before blow-drying. A generous amount of oil was used all over for separation and a “sweaty” effect. “I put a lot on the roots so that you see the comb marks,” he explained. A thicker curl cream was applied to the top section in order to mold the hair back off the face before it was pinned and fixed in place with strong-hold hairspray. “It’s what they used to do [in the eighties], but completely deconstructed,” Hanlon said. I think we can all agree that a literal interpretation of this particular era wasn’t missed.
MAC may have nabbed Proenza Schouler (announced during the Spring 2014 collections), but NARS Cosmetics is teaming up with Phillip Lim to produce nine nail lacquers (available in August)—one of which will be used at the show today. Serving as the brand du jour backstage for the past fourteen seasons, it’s safe to say the cosmetic company understands the designer’s aesthetic. Face painter Francelle Daly created a “monochromatic techno look” to complement the “geode-inspired embroidery” in September. And in just a few short hours, I’ll get a first look at Lim’s limited-edition line of polishes and what Daly has dreamed up for Fall.
“His inspiration this season was a girl from northwest America who loves Patagonia and comes to New York to shop,” said makeup artist Diane Kendal of the designer’s muse. To reflect that same “spontaneous” spirit on the face, Kendal created a reverse cat-eye using NARS Eyeliner Pencil in Mambo—starting from the middle of the lower lash line and kicking it out past the outer corners. She topped it with reddish-brown shadow from the forthcoming Dolomites Duo. “Black is typical,” Kendal said of her shade choice. “This represents that she does what she likes to do.” The rest of the complexion was just as unfussy and fresh—using highlighter on top of cheekbones and across the lids for a subtle sheen.
The hair was less about a Seattle native armed with an American Express card, and more about a girl who hits the gym. “She has beautiful hair, but she’s been sweating,” said Odile Gilbert, who prepped strands with Kérastase Spray à Porter (a volumizing spritz) to lift the roots and blasted the back with dry shampoo for a fluffy, matte texture. After making a deep side part, Lift Vertige gel was generously applied to the front sections for a “wet” effect before they were tucked behind the ears. A few pieces of length were given a similar treatment with Touche Perfection cream. “There are some elements [in the collection] that are part of the sports world,” Gilbert explained of where she found her athletic inspiration. Appropriate, seeing as the Sochi Olympics are in full swing.
When you’re Alexander Wang, you don’t bring Brooklyn to the fashion set; you bring the fashion set to Brooklyn. And when you bring the fashion set to Brooklyn, you better deliver something special—like heat-activated fabrics and a 360-degree finale composed of a dozen supers (including Karlie Kloss, Joan Smalls, Caroline Trentini, Anne V, Angela Lindvall, and Bridget Hall).
Diane Kendal and Guido Palau were tasked with creating hair and makeup that lived up to the spectacle across the river. For Kendal, that meant creating “monochrome” faces with bleached brows, light coverage foundation, a bit of contouring underneath the cheekbones and in the creases of the eyes, and a few strategic swipes of NARS Illuminator in Copacabana for sheen. “The head is very hard…so we wanted [to create] an open feel to the face—almost like mannequins,” she explained of the androgynous look.
Palau married multiple references—the sixties, futurism, comb-overs—into a lacquered style that swept across the forehead like a bang and wrapped tightly around the sides. “[The idea] was taken from an illustration that Alex had done—I wanted to do hair that was kind of drawn on,” he said. To achieve this, Palau blew strands straight using a Mason Pearson brush, made a deep side part, doused hair from roots to ends with Redken Control Addict 28 High-Control Hairspray, smoothed everything into place, and blew it dry to lock in the shape. Any remaining length was pulled into a low ponytail, which would later be concealed by cravats. The twelve models dressed in head-to-toe black (revealing vibrant shades of pink, yellow, blue, purple, and green when rotated in front of industrial vents) had their heads blasted with black powder for a seamless finish. When asked about the venue change, Palau replied, “What do I think about Brooklyn? No, it’s great.” The masses might not be in favor of crossing a bridge to get to a show, but Uber certainly enjoyed the ride.
As The Space Lady (aka Susan Dietrich, a former eighties street performer in San Francisco) blasted through the air, makeup artist James Boehmer talked about transcendence—the inspiration for the designers’ Fall collection, which faded from dark, heavy fabrics to white, airy materials. The color that began to appear by look seven was reflected in the makeup via NARS Larger Than Life Eyeliner in Khao San Road, an electric blue shade that was applied to the lower, inner rim. “It’s more of an effect than a color,” he explained, “It makes the eyes look big, bright, dreamy, and ethereal.” Sharon Tate served as the muse for the long, fluttery lashes on both top and bottom, along with the brows that were gelled-up just in the inner corners. The dewy skin and ultra-shiny lips, however, were taken directly from a seventies Princess Leia. “She always had perfect lip gloss no matter what happened,” said Boehmer. Complexions were hydrated with NARSskin Aqua Gel Luminous Oil-Free Moisturizer and cheekbones highlighted with Rosebud Salve for extra “gleam.” A blend of the forthcoming Matte Multiple in Mauritanie and Triple X Lip Gloss were “thumbed” onto models’ mouths. “It’s meant to look as if she’s just [ate] honey,” he said of the glassy finish.
Thankfully, Star Wars didn’t inspire the braid crafted by Odile Gilbert. Instead, the designers wanted something “cool,” she said. This resulted in a continuous plait that started at the crown of the head, wrapped around the front “like a bang,” and finished down the back. To prep strands, Gilbert used Kérastase Mousse Bouffante and Lift Vertige on damp hair for texture before blowing it dry, then added extensions a shade lighter than each girl’s natural color where needed. After making a side part with the pointed end of a tail comb and braiding, she roughed it up with her fingers to create “whisps” before finishing with Laque Dentelle hairspray and Touche Perfection cream for shine. “Don’t be afraid to destroy,” she told a stylist on her team as he watched in horror as she roughed up his perfect plait. The finished look took all of five minutes. “It’s like a little hat,” Gilbert quipped.
The “water-marbled” nails by manicurist Katie Jane Hughes also had an outer space reference (although there was no mention of Jedi Knights). After applying a base coat of Butter London Nail Lacquer in Trallop or Teddy Girl, Hughes applied a drop of Diamond Geezer, Billy No Mates, Yummy Mummy, Pearly Queen, and Posh Bird into a bowl of water. After swirling the shades with a stick, she gently dipped the nude or pink tip into the floating pattern. The result was reminiscent of “agate” or “cosmic environments,” she said. Hughes made the technique look relatively easy, but if you try this one at home, may the force be with you.