221 posts tagged "Pat McGrath"
“It’s always about the beauty of the eyeliner—everything begins there,” explained Pat McGrath of the soft black flicks she created today. The designer’s favorite Italian film icons, Sophia Loren and Monica Bellucci, once again served as inspiration, but in lieu of the heated Mediterranean woman, a more enchanted spirit was embraced. As The Nutcracker Suite played and snow softly cascaded down over the barren almond blossom trees (seen in full bloom this past Spring) at one end of the runway, a softer, more “fairy tale and woodland” look emerged onto the catwalk.
To bring models’ features forward and achieve that “lit-from-within” glow, McGrath used two tones of Dolce & Gabbana’s Perfect Liquid Luminous Foundation—one to match the complexion, and a paler hue on the high planes of the face. Cheeks were lightly dusted with Blush in Nude. Being the main focus, eyes were rimmed with Crayon Intense in Black, then layered with Glam Liner, a liquid formula, to intensify the winged shape. The lower lashes were given the same treatment, but the majority of the pigment was wiped away with a cotton bud, leaving only a trace of color for definition. A new launch from the brand, Perfect Mono Cream Eye Colour (on shelves this Fall), was washed across the lids—Cocoa in the socket and Innocence, a pearly white, in the center and on the brow bone. (Innocence was also mixed with Gold Dust and tapped onto the cheekbones to highlight). After using a nude pencil on the water line, two tubes of mascara were pulled out to polish everything off—Intenseyes Mascara in Black Intense on top and Passioneyes in Terra, a brown shade, on the bottom—to sweep lashes up and out. Using just her fingertips, McGrath pressed Classic Cream Lipstick in Honey onto models’ mouths before dabbing a clear gloss in the center. “Stefano and Domenico spoke about the fact that they don’t want the gloss on the top of the lips because it can look really old-fashioned,” she noted.
The hair was put up in “a classic Dolce manner,” explained Guido Palau—meaning a “sensitive” style swept off the neck and face, but not “snatched back and hard.” This season, strands were prepped with Redken Body Full, a thickening spray, to create “guts and a little bit of friction,” then misted generously with Pillow Proof Two Day Extender, a dry shampoo, for texture. The length was loosely braided and coiled into a low chignon; tendrils and “floaty bits” were pulled out to frame the face. “I think they’ve really defined their woman, the boys, and it’s something that’s very successful for them,” noted Palau. The one thing they did change up this season: The elaborate hair accessories were swapped out for chain mail-like hats encrusted with crystals or sequins. After all, what fairy tale would be complete without a knight in shining armor?
Three words both Pat McGrath and Guido Palau used to describe the hair and makeup at Jil Sander: “Very, very natural.” Both artists let each model’s character take center stage instead of creating an entirely new persona. McGrath lightly contoured lids with a taupe shadow, brows were groomed, and lips were layered with balm. “Simply beautiful,” she said of the finished face.
Palau staked his claim on the two sinks backstage, using them to wash each girl’s hair with Redken Hair Cleansing Cream Shampoo. Strands were left to air-dry before they were spritzed with Pillow Proof Two Day Extender, a dry shampoo, for additional texture. Despite the designer departing her eponymous label for the third time, the house’s signature look holds strong.
Playing off the graphic lines in the collection, hair pro Guido Palau crafted a classic pony. The twist? “They’re made of hair extensions, like a big horse’s tail, and cut very blunt,” he explained. Inspired by nineties minimalism, Palau kept things “sharp” instead of “soft and natural”—an aesthetic the house has stuck with the past few seasons. To get strands super-straight, he used Redken Align 12 to blow-dry hair smooth before it was flat-ironed. Palau then gathered the length at the back of the head, tied it off with a piece of elastic, and wrapped the tail with extensions for thickness—hiding the band with a small section of hair to complete the ultra-clean look.
“It’s not natural, undone nothing [makeup]; it’s natural, but, beautiful and polished,” Pat McGrath noted. For a “fresh” contour, she employed a taupe-y rose blush in lieu of a harsh bronzer. Lids were softly shaped with a beige shadow and brows were simply groomed to finish.
The sixties are alive and well this season and everyone, from New York to London to Milan, is getting in the spirit. Eugene Souleiman channeled Françoise Hardy at Peter Som; Pat McGrath was inspired by Britt Ekland at Gucci; Mia Farrow was the icon on Paul Hanlon’s mind at Moschino; and today at Versace, Guido Palau crafted a slight bump in the hair—a surefire marker of the very groovy decade. When it comes to appliances, however, we don’t usually expect a throwback. White Sands, a haircare company, developed an attachment for your blow-dryer that acts like the “salon hoods or bonnets” of yesteryear, setting curls or locking in moisture from treatments, hands-free. Model Doutzen Kroes even appeared to be wearing a similar contraption on set this week. Will the concept take off like Mary Quant’s miniskirt or the bikini post-Beach Party? If the runways are any indication, going back in time just may be the wave of the future.
“Donatella simply wanted glamorous, but more of a clean glamour,” explained Pat McGrath. Gone was the smudgy liner from Spring 2014, but the double set of faux lashes remained. Eyes were further emphasized with a taupe shadow in the contours, and brows were softly groomed. A tawny lipstick and gloss polished off the lips. “This is her version of natural makeup,” McGrath said of the designer, who sports a strangely similar look.
The sixties were referenced yet again backstage by Guido Palau, who called upon the era by creating volume at the crown. After extensions were added in for thickness, the rest of the hair was kept “poker straight” using a combination of Redken Pillow Proof Two Day Extender and Guts (a volumizing spray foam), then subsequently flatironed. After backcombing the Bardot-esque bump in with a rattail comb, the style was set with Forceful 23 hair spray. “Per the usual, it’s very glamorous hair for a very high-maintenance woman,” Palau summarized. Seeing as this is the house of Versace, we would expect nothing less.