194 posts tagged "Pat McGrath"
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.
I have firmly committed to the lipstick camp, mainly for one reason: I refuse to pull my hair off my mouth every time the wind blows. Sure, that shine is tempting, and I highly recommend gloss to girls who can deal—I just don’t happen to be one of them. But that factor I can’t stand was exactly the point today at Miu Miu. “Pat [McGrath]‘s doing a very heavy gloss, and then I took the hair and stuck it to the lips,” said hair pro Guido Palau. “It lends a little bit of sexiness and [provides] a naive sexuality.” Let’s just say I won’t be taking this look from runway to reality.
As far as getting that natural texture we’ve seen all season long, however, that’s something I can get into. Palau prepped damp strands with Redken Extreme Anti-Snap Leave-In Treatment, then dried them with a round brush to add a bit of bend. Next, he scrunched sections with his hands as he dried, using a curling iron to add additional movement where needed. A messy center part was made before tucking hair behind ears. The final touch: gluing a few pieces to models’ pouts via the gooey but gorgeous cosmetic. Pretty slick.
If you’re asked to create an African mask infused with Japanese flavor, and you happen to be Pat McGrath, then your motto is simple: Go big backstage, or go home. Along with skill and imagination, she breaks down what it took to get models runway ready:
3: Number of hours it took, per face, to glue on all the goods—including Swarovski Crystals, sequins, glitter, netting, and plastic brows. “We cut it down from four,” boasted McGrath.
5: Number of people who hand-delivered the stones from Los Angeles, New York, London, Austria, and Paris.
6: Number of hands (two senior makeup artists and one assistant) it took to painstakingly glue on each gem.
9: Total number of vans and bikes used to transport the jewels to the show.
10.5: Total number of hours it took to complete the job, working nonstop from 9:00 a.m. to 7:30 p.m.
16: Number of models who received a bespoke mask for the catwalk.
1,500: Approximate number of crystals used to cover each girl’s complexion.
2,000: Approximate number of sequins applied to the face in addition to the sparkling stones.
The end result: A priceless place in beauty history.
“We’re using theatrical contours in a very minimal way,” face painter Pat McGrath said of the makeup at Valentino, calling upon references like Maria Callas in Pier Paolo Pasolini’s 1969 silver-screen adaptation of Medea. “It’s about building and structuring the face with light.” Similar to a trick often used onstage, McGrath swathed the top half of the face in a pale foundation, then used a highlighter on the inner corners of the eyes, cheekbones, Cupid’s bow, and chin. She ran a nude pencil along the waterlines to cancel any redness, washed lids with a light dusting of contour powder, and dabbed concealer lightly onto lips. A milder version of the metallic brows seen at Christian Dior also showed up here, with arches being coated in a shimmery gold cream.
Hairstylist Guido Palau took a more austere approach to the Valentino woman. “She’s still very beautiful, but more severe than usual,” he explained. He began by blowing strands smooth with Redken Satinwear 02 and making a crisp line down the center from forehead to crown. Next, he teased the area where the parting ended to build volume. Two panels of hair were set aside on either side of the face before placing the ornate leather headband provided by the house on each model’s head. Then the length was gathered into a low, clean ponytail and the two front pieces were pulled back over the ears, wrapped around the elastic, doused in hair spray, and set with heat. Not a single bobby pin was used (or at least visible), making for an impeccable and seamless finish.
“Opera was [once] the pop music of the day, so we were trying to make that modern,” elaborated McGrath. As a classic aria echoed through the Jardin des Tuileries, it was possible to imagine this look making an appearance not only at Lincoln Center, but also on the red carpet—worn by the likes of front-row fixture Ciara.
Maison Martin Margiela has unveiled many a mask on the runway—stitched with everything from blossoms to beads to bling. But at Givenchy, backstage fixture Pat McGrath took things a step further by painting and actually affixing crystals, sequins, glitter, plastic brows, and black netting to models’ faces. It took nine hours with Riccardo Tisci to determine the look inspired by Africa and the future, as the designer and McGrath played with various combinations of vibrant gems (including sky blue, sapphire, ebony, violet, and amethyst) to complement each piece in the collection. “We just let the mind travel,” she said of the exquisite and sparkling creations. McGrath’s team—with two to three artists being assigned to each girl—bedazzled nearly the entirely lineup from 9 a.m. to 7:30 p.m. Their hard work, however, wasn’t just appreciated by the crowd; a few of the models slipped out with their maquillage still intact. Expect to see the lithe escape artists in party pictures—that is, if you can manage to ID them.