194 posts tagged "Pat McGrath"
Getting ahold of one of the most in-demand makeup artists during Paris fashion week is a feat unto itself, but I finally managed to snag Pat McGrath (for one minute and twelve seconds, to be exact) to discuss the gilded details at Dior.
The “brocade” brows covered in layers of glue, metallic theatrical paint, and glitter were as textural as they were striking—appearing as if they were cast from the precious metal itself. McGrath built upon this element (similar to the approach taken at Derek Lam) by adding “organic sweeps” of the same paint on lids and lower lash lines. The third and final touch was a band of baby blue or sea foam green eyeliner that played upon Raf Simons’ flora-strewn wonderland.
While you wouldn’t catch the majority of the fashion and beauty set within a mile radius of the Golden Arches, I have a feeling they’ll be lusting after the looks McGrath was serving up on the runway.
Hairstylist Eugene Souleiman said he didn’t look to the actual collection for inspiration, but instead thought more about the Stella McCartney woman. “There are a lot of florals in this show, and the prints are quite textural and light, so I didn’t want to do anything that bore a resemblance to [those elements],” he explained. The solution: A boy-meets-girl ponytail on fresh strands. “I’m a huge advocate of swamp hair, but the reaction to that this season is something much cleaner,” he said. Using zero product, he added a bit of volume with a round brush and blow-dryer, then made a deep side part, “like an old man’s hairstyle, when he’s trying to comb over a piece of hair to hide something,” Souleiman quipped. The length was tied back at the nape of the neck with a string of black elastic—a method the pro prefers over a band because it keeps the tail “tight and controlled.” Any loose bits that fell out were left alone, as they lent a notion of fragility to the strict style. The end result was a “masculine shape,” described Souleiman, with a soft, free-flowing texture that kept things feminine.
As for the makeup, Pat McGrath said it was “rebellious,” imploring graphic liner to lend some edge. The look was based on a photo McCartney saw of Guinevere Van Seenus in Craig McDean’s new book (Amber, Guinevere, and Kate Photographed by Craig McDean: 1993-2005), for which the face painter had created a winged eye. To make it runway-worthy, McGrath ran a “brown-gray” pencil along the upper lash lines and flicked it out onto the outer corners and pulled it down toward the tear duct—forming sharp points on the diagonal. The lower lashes were also rimmed in the chestnut hue. For intensity, a hand-mixed, liquid version of the liner shade was run over the top. “She’s a stronger, tougher girl this season,” added McGrath. But with the beautifully painted ceilings of the Opera Garnier floating overhead and Sir Paul McCartney sweetly playing the harmonica for his granddaughter backstage, I felt worlds away from the slightly badass image the designer had in mind.
The mantra of Spring 2014 continued at Lanvin: “Designer’s aren’t so concerned about the normal constraints—they just want it to feel easy and not too thought about,” said mane master Guido Palau. In contrast to the metallic fabrics, precise micro pleats, and oversize necklaces, the hair was kept minimal yet again—with a soft, “slightly broken” low ponytail that loosely swooped across the forehead. “It should feel as if you haven’t tried…which we haven’t,” he added. Strands were blasted with Redken Guts 10 for texture, and Quick Tease 15 (a volumizing spray) was used at the roots so that the finished product would appear more “bed-head-y” than flat.
The same logic applied to the makeup, explained Pat McGrath, who noted Alber Elbaz wanted to mimic how model Jamie Bochert showed up to the fitting. The girls were simply “enhanced” with brown mascara worked into the roots of lashes, a wash of taupe shadow around the eyes, a light touch of highlighter in key places (like the lids, inner corners, Cupid’s bow, and chin), and rose blush dusted across the cheeks. Due to the unusually warm temperatures in Paris this week, McGrath did her best to “mute” the naturally flushed faces of the girls. But despite the steamy backstage conditions, the summery weather seems to have inspired a wave of laid-back looks.
It seems that Domenico Dolce and Stefano Gabbana’s love affair with Sicily and Sophia Loren will never end (and Spring 2014 is no exception), but what an exquisite relationship it has been on the runway. “Even though it’s soft, romantic, and cherubic, it’s still Sophia Loren—but this time she’s in a Greek theater and it’s sunny and hot,” Pat McGrath said of the muse, alluding to yet another reference for this season’s show, Federico Fellini’s 1969 film, Fellini Satyricon. To lend an instant glow to skin, McGrath applied Dolce & Gabbana Make Up Perfect Luminous Liquid Foundation in a shade slightly warmer than each model’s skin tone. For a Fellini-esque flush, three shades of Luminous Cheek Colour (Rosebud, Apricot, and Peach) were swirled together and dusted on the cheeks, chin, hairline, and brows. To pick up on the plethora of precious metals in the collection—including a finale entirely composed of shorts, dresses, and separates made of metallic lace—a blend of yellow- and rose-gold hues from the Smooth Eye Colour Quad in Golds and Desert was applied to lids, with a slightly deeper beige blended into the crease and rimmed along the lower lash lines. To highlight cheekbones, McGrath used the gilded side of the Smooth Eye Colour Duo in Fortune, then wet a small brush and dabbed the pigment on the inner corners of the eyes to catch the light. Since it wouldn’t be a Loren look without at least a hint of a cat eye, a tiny wing was made on the outer corners with a chocolate brown pencil and topped with Intense Liquid Eyeliner in Baroque Bronze, while a nude pencil was run along the lower water lines for pop. Lashes were coated with PassionEyes Mascara in Terra and a brow pencil (a forthcoming launch from the label) was used to fill in and flesh out arches. Classic Cream Lipstick, in Bellissima and Traviata (out for Spring 2014), was mixed on the back of McGrath’s hand and pressed into lips for a subtle, stained effect.
The hair—a softly braided chignon pressed flat against the head—harked back to the styles often worn in ancient Rome, said backstage fixture Guido Palau. To prep strands for these un-stuffy updos, he misted Redken Guts 10 for texture and Powder Refresh 01 to take away any shine. The top half was curled using a half-inch barrel, the sides gently twisted back and secured near the middle of the head. Next, the length was gathered into a singular braid, coiled, and pinned into place. And when in Rome (or at least keying a show inspired by it), one should do as the Romans do, which for Palau meant tucking the exquisite embellishments crafted by the house—such as coin-encrusted headbands, jeweled combs, and feminine flora—throughout. To finish, he tugged pieces around the front to loosen up the look and create a soft halo of fuzz around the face. The look, he elaborated, contained “all the things a girl wants to be at some point” (think Italian goddess meets femme fatale meets modern-day jet-setter). And indeed it did, at least for this girl.
“There’s no period—it’s totally now and totally her,” hairstylist Guido Palau said of the look at Jil Sander. Hair was blown out with Redken Satinwear 02 for smoothness, and a deep side part was made with fingers (in lieu of a comb, which forms a hard line). After glossing over the surface with All Soft Argan-6 Oil, he pulled the length back into a low, loose ponytail and secured it with a black elastic. “A chignon would be too lady; [the pony] keeps it young yet pulled together,” he explained. After the models were dressed, Palau loosened a few pieces in front to form a “mesh” over the side of the face, introducing an element of fragility and ease to an otherwise stark style.
The minimal makeup created by Pat McGrath entailed only the basics: foundation, pinky-peach blusher, brown mascara on the top lashes, a blend of taupe-colored cream and powder shadows washed around the eyes, and lip balm. The only true “pronouncement” was the brows. “We’re not forcing a shape or a character—just enhancing,” she said of defining models’ arches. A touch of highlighter was added to the lids and inner corners of the eyes for a subtle and sophisticated glow.