229 posts tagged "Pat McGrath"
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.
Domenic Dolce and Stefano Gabbana are masters at reimagining classics with modern, sensual twists, and we’re not just talking about clothes and accessories. The duo’s new Sicilian Lace cosmetics collection, which bows at Saks mid-month, is inspired by the lacy numbers the designers sent down their Fall runway and features updates on neutral, pinky flesh tones for lips, eyes, nails, and cheeks. D&G resident makeup collaborator Pat McGrath curated the color selection, focusing on soft and nuanced nudes that recall the terra-cotta coastline and sandy beaches of Sicily. While some bare shades tend to cast a blah sheen on the complexion, these are formulated with pure pigments and pearly accents to blend easily and warm up any skin tone. There’s plenty to lust over in the six-piece collection, but the star item is definitely the limited-edition bronzer imprinted with a delicate floral lace pattern. Swirling a fluffy makeup brush across the top blends the rose and gold flecks together, imparting a sunny glow to the face with just a hint of shimmer. The only drawback: Doing so erases the pristine overlay. This bronzer might be too pretty for its own good.