230 posts tagged "Pat McGrath"
“It’s a big show for him,” hairstylist Guido Palau said backstage at Roberto Cavalli’s Spring presentation yesterday, which marked the designer’s 40th year in the rag trade. And for a big show comes big hair—although rather than make his statement with volume, Palau made it with length. To hammer home Cavalli’s rightful ownership of the seventies—the decade in which his sexed-up animal-print empire was born—Palau went with middle parts and hair so long it hit at the hip and swung in motion with the fringe that dangled off pretty much every piece the designer sent out. The look was reminiscent of the long, loose styles worn by Band-Aids—those quintessential seventies L.A. girls who “inspired” (often, ahem, bodily) the era’s rock ‘n’ rollers. Redken’s Align 12 Protective Straightening Balm provided those stick-straight strands, which were then exaggerated with nearly two feet of extensions, blended into models’ natural tresses using a flat iron and Redken’s Vinyl Glam 02 Mega Shine Spray.
Makeup artist Pat McGrath was on the same tip, crafting a smoky eye, which has become something of a staple at this show. Rimming lids with a black kohl eye pencil, McGrath blended a wash of brown shadow along the upper lash line, dragging it toward the brow bone and underneath the lower lash line for a “slept-in look.” A slight cheek contour and a balm-slicked mouth finished the whole look, which model Erin Wasson liked so much, she kept it intact, adding a brick red lip for the amfAR Milano gala later that night.
The relaxed elegance that Domenico Dolce and Stefano Gabbana sent down the runway for Spring yesterday—bridal whites with huge gold hoops and wooden platform heels make for a pretty chill “I do”—was sexed up a bit by makeup artist Pat McGrath’s dose of Sicilian sensuality. “Drop-dead glamour and innermost sensuality come from an emphasis on the lips,” says McGrath, who serves as color consultant for the design duo’s wildly successful cosmetics line. The face painter broke out the range’s new-for-November Lip Jewels, a pout palette of four best-selling shades of D&G’s Classic Cream Lipstick (in Dahlia, Devil, Ultra, and Nude), blending them for a muted, rosy pout that had a just-bitten effect. Dolce & Gabbana Blush in Caramel gave cheeks their warm, bronzy glow while its Eye Shadow in Nude provided a slight beige smolder, enhanced by black mascara. Coif master Eugene Souleiman’s textured, fallen-out chignons added to the sense of romance.
Picking just one beauty image from yesterday’s Versace show may have been the most difficult thing we did all day. Just about every single model backstage had the most gorgeous skin we’ve seen at the Spring shows yet. Lindsey Wixson ultimately won out because, well, she’s Lindsey Wixson (oh, that face!)—but don’t think for a second that the flawless complexion pictured above is solely due to the model-of-the-moment’s good genes and youth. No, credit must also be given to makeup artist Pat McGrath and her magic bottle of CoverGirl NatureLuxe Silk foundation, which has already wowed us backstage at both Anna Sui and Gucci, and sadly will not be available for purchase until January 2011. On top of this perfectly polished canvas, McGrath blended warm shades pink blush, applying CG’s LashBlast Length mascara in Black on the upper lash line to add dimension to a layer of of its Professional Eye Enhancer eye shadow in Mink, a soft taupe-y beige. “A new type of glamour,” is how hairstylist Guido Palau referred to the overall beauty look, which was a departure from Donatella Versace’s typical directive, which tends to involve dark, sultry eyes and a more-than-occasional dabble into big, voluminous blowouts. “It’s a strong, Helmut Newton sort of woman,” Palau added, slicking back tresses with Redken Hardwear 16 Super Strong gel and fashioning low-slung knots, which he covered with a square piece of black PVC leather and secured with a hair tie. That super-glossy finish came courtesy of a quick smear of Redken’s Glass 01 Smoothing Serum right before models hit the runway.
The small head, deep side parts, and finger waves that took to the runway at Prada yesterday were, as you likely presumed, inspired by the one and only Josephine Baker. “The thirties jazz scene” compelled hairstylist Guido Palau to break out his trusty bottle of Redken Super Strong 16 Hardware Gel, curl sections of models’ tresses around the hair line with a tail comb, and create two small-and-tight buns in the back to add some “innocence” to the otherwise sophisticated look. A healthy spritzing of Redken’s Vinyl Glam 02 Mega Shine Spray provided that high-impact finish that glistened on the catwalk, which was also helped along by face painter Pat McGrath’s theatrical chrome-silver eye. McGrath swept the opaque powder shadow across lids from the lash line to a makeshift, androgynous brow, which she etched onto foreheads using a series of MAC Cosmetics’ brow pencils for an angular, masculine element—which was perfectly fitting, seeing as how Miuccia Prada slipped a few menswear elements into her bright colored, boldly striped collection.
Full disclosure: All the seventies/Studio 54 references for Spring have become a bit repetitive for us of late. But when that era-specific beauty is re-created with the kind of precision that we saw backstage at Gucci yesterday, it becomes new and exciting again; Jerry Hall and her cohorts could not ask for a more beautiful retrospective than the sleek, polished look makeup artist Pat McGrath and coif master Luigi Murenu churned out for the occasion. Coating models’ hair with John Frieda Frizz Ease Serum, Murenu created deep side parts and secured models’ tresses in ponytails with a leather band (that happened to match the handbags in the show), before braiding and twisting his plaits onto themselves for a coiled chignon. But the real punch came from a smokin’ hot, glossy red mouth that McGrath painted onto pouts with a brush dipped into a mixture of not one, not two, but three different scarlet pigments for the “orangey-red” color she felt was deserving of the navel-baring jumpsuits Frida Giannini sent down the runway. As to avoid making the girls look too “retro,” McGrath focused her attention on dewy skin, using CoverGirl’s as-yet-unreleased NatureLuxe Silk foundation (which she debuted backstage at Anna Sui) and a glossy eye, courtesy of a slick of Elizabeth Arden’s Eight Hour Cream on top of metallic brown eye shadow. Finishing touches came in the form of CoverGirl’s LashBlast Fusion mascara and MAC Lacquer in Shirelle, a cherry red varnish applied to fingers and pedicured toes, which peeped out of crushed velvet and gold python strappy stilettos. In a word, swoon.