221 posts tagged "Pat McGrath"
The always ingenious Pat McGrath dazzled with liquid latex yesterday at Dior, painting models’ lids with shades of brilliant blue and khaki green, then topping them with pigment in glitter. “When we were testing, we were doing it in layers with a hair dryer—mind you, we didn’t have to do it [backstage] because the room was so warm,” she noted. Judging by the trio of images on Hanne Gabbe Odiele’s Instagram, the eye-catching look took far less time to peel off than it did to put on.
Flashback Friday is a feature on Beauty Counter in which we pore over the pages of our favorite glossies from decades past in search of a little modern-day makeup and hair inspiration.
The Model: Willy van Rooy
The Moment: Full Fringe
The Motivation: With the rise of Kardashian and Ko., faux lashes have lost a little of their Old Hollywood appeal. And admittedly, we’ve never been that adept at gluing on fake fringe. This season, however, we may just have to step up our skills. Makeup artists are lashing out on the reg—from Pat McGrath at Gucci and Versace to Lucia Pieroni at Rochas. In lieu of reality TV, however, we plan to look at the runways and shots like this British Vogue image for beauty inspiration. The photo was captured in 1967, but judging by what’s trending on the Fall 2014 catwalks, we doubt anyone would bat an eyelash if we said this was snapped in the past few weeks.
Gone was the “precious” beauty of seasons past, and in her place was the urban, working woman (the Dior version, at least), summarized Guido Palau. Channeling the theme, the hair was all business. First, it was blown smooth with Redken Satin Wear 02, then the area from forehead to crown was shellacked with Forceful 23 hairspray in order to mold the strands tight to the head. “It’s a sculptural look, but the hair will move on the runway,” he said.
“This is a woman of today; she’s in the real world,” noted makeup guru Pat McGrath of the “street and slightly masculine” muse. The striking eyes were crafted using theatrical latex paint in cerulean blue and earthy khaki green—a material artists rarely employ because it requires impeccable timing to layer products over top. After “playing from 9 p.m. to midnight” at the test the day before, McGrath had the process down to a science: The graphic shape (“not a wing—we’re moving away from that,” she noted) was sketched on with a pencil, filled in with the paint, then a pigment in a similar tone was gently pressed into it. “Gradually, the latex swallows the pigment so you get this ultra-glassy feel—like a mirror,” she explained. In addition to colored mascara that matched the shade swathed across lids, the finishing touch was a sprinkling of glitter that reflected greenish gold or blue tinged with lavender. (For formulas that are less temperamental, we like Dior’s forthcoming 5 Couleurs shadow palette in Carré Bleu or Jardin. Or add a hint of office-friendly sheen with the Skinflash Radiance Booster Pen on the high points of the face.)
Between McGrath’s sparkly eyes and the slashes of vivid color seen on the catwalk, I don’t think the Dior customer could ever come down with a case of the Monday blues.
“The girls look like a pen-and-ink sketch,” Pat McGrath said of the painterly onyx liner and blunt lashes on view at Lanvin. She applied a black cream formula with a brush, smudging it along the upper rim. In contrast, the lashes were cut clean and square. The theme of the maquillage was “not being afraid to play,” she explained. “The whole idea of the eye and the lash is about being brave and strong.” And this major lid statement didn’t get lost beneath the bevy of hats in the collection. “Don’t forget, when you’re sitting down, you’ll still see the whole face,” McGrath noted.
To reflect the nighttime sensibility evoked by the feathers, decadent furs, and fringed gowns in the lineup, Guido Palau crafted a wet knot. “With the lighting and smoke, you just feel like the hair wouldn’t be dry—it would almost be too romantic,” he said. Palau doused strands with Redken Guts 10 Volume Spray Foam before raking the length back with his fingers and twisting it into a messy bun, placing it high or low depending on whether the model was donning a marabou-trimmed chapeau. For a glistening effect that played off the graphic pendants or hints of sparkle in the clothes, he finished with a generous spritz of Shine Flash.
“Once upon a time in Sicily…” read the invite to Dolce & Gabbana, and the clothes, many of which were accented with woodland creature-inspired appliqués, followed the fairy tale theme. A skeleton key motif was also threaded throughout several pieces in the collection, almost as if to say the doors to the designer’s secret winter garden had been unlocked. Backstage—a clandestine world all its own—the heroes of hair and makeup, Guido Palau and Pat McGrath, were hard at work crafting an “enchanted” look to match the storybook-worthy set. Gather round as the dynamic duo tell their captivating beauty tale: