229 posts tagged "Pat McGrath"
Nicolas Ghesquière’s “game of colors” for Louis Vuitton’s Cruise collection was complemented by not one, but four eyeshadow shades—one being selected to suit each model that took to the runway. “It was about celebrating each girl’s beauty—it wasn’t a makeover or anything like that,” noted makeup pro Pat McGrath, who smudged a lustrous blue, gray, burgundy, or khaki green pigment around each catwalker’s eyes and into the socket with a damp brush, then defined lashes with black-brown mascara. “When you think of shimmer shadows, you usually think of a party or strong beauty, but this [look uses] those shimmer shadows in a much more modern, simple, bare way,” she explained. While the gray had a hint of silver, the other hues in this season’s palette were injected with gold sparkle to add warmth. A bronzy blush was dusted across the cheeks and chin to finish off the face and lend a “fresh, outdoor effect” (this is Resort, after all). If the glittery lids McGrath created at Dior’s Fall 2014 show or the gold-leaf-adorned smoky eyes that appeared in Dubai for Chanel’s Arabian Night-themed spectacular are a bit too over the top for your taste, the subtle and sophisticated liner at Vuitton should provide you with plenty of flash.
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: Christy Turlington
The Moment: Bejeweled Lids
The Motivation: At first glance this may not appear to be a beauty shot, but look a little closer and you’ll be sure to spot Christy Turlington’s sparkling lash lines. Much has been placed on lids in the past: neon stickers at Atelier Versace; gold string at Dries Van Noten; neoprene at Fendi; lace, pearls, and jumbo glitter at Chanel. And Fall 2014 was no different. Makeup maestro Pat McGrath created incredibly beautiful “mothlike” lashes and brows at Alexander McQueen with hand-cut feathers, and used liquid latex instead of standard shadow at Dior. And seeing as eyes are the windows to the soul, why not add some extreme embellishment to attract even more attention?
Flashback Fridays 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: Laura Ponte
The Moment: Baby Blues
The Motivation: There’s nothing new about blue eyeshadow, but what can be surprising is the way in which it is applied. At Dior’s Fall 2014 show in Paris a few weeks ago, we watched as makeup artist Pat McGrath swathed latex paint in a cerulean shade across models’ lids. The idea was fresh, supercool, and, quite frankly, a stroke of genius. We imagine McGrath might have been inspired by an image similar to this one from a nineties issue of Elle Germany, but her ability to look at a trend that took off in the eighties and add an interesting, high-tech twist is a perfect example of a pro taking inspiration from the past while still looking toward the future.
Lashes and cornrows—two of the trends we’ve seen time and again this season—were taken to breathtaking extremes backstage. One could say that pushing things to the max was a signature of the late Alexander McQueen: “This was something Alexander really liked—it feels like a classic code of the house,” said Guido Palau. The never-ending plait dreamed up by the mane master and executed by a team of braiders was no doubt “severe,” but the long, flowing extensions that caught the wind on the runway gave the “silhouette a certain softness.”
“It’s futurism mixed with nature,” Pat McGrath said of the two gasp-inducing looks she devised for the show. “We decided to do the owl world in a punk eye makeup way.” Black spiky feathers hand cut and designed by the face painter were painstakingly glued one by one onto the brows and top lashes. “When would I ever make it easy?” she quipped of the dramatic maquillage that took nearly four and a half hours to complete. Her second creation (worn by the majority of the models) played with shading and light in lieu of plumes—using brick red, silver, and gold metallic pigments to lend a “futuristic” feeling to the face. The end result not only incited a frenzy of flashes from photographers (particularly around the catwalkers with those phenomenal “mothlike” eyes), but also perfectly captured the “McQueen world of innocence, romance, and darkness” with a sensitivity and boldness that won’t soon be forgotten.
“We wanted to do something that wasn’t classic or as normal as a braid or pony, so I added another dimension to the Valentino woman,” said Guido Palau of the superlong tails (26 inches, to be exact) that cascaded down models’ spines. The “dimension” came by way of “little balls or bubbles” that were tied off with black elastic—”a very sort of seventies, late sixties kind of idea,” he noted. The strict center part, slight height at the crown, and hair pulled over the ears—all quintessential beauty signatures of the house—remained.
Face painter Pat McGrath played with light and shading again this season (using a pale powder on the outside of the cheeks and a pearly highlighter above the Cupid’s bow), but added a touch of “eccentricity” with a gray-blue liner on the top and bottom lash lines. Judging by the end result, a dash of whimsy was the perfect way to up the ante on the label’s no-fail hair and makeup recipe.