August 28 2014

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23 posts tagged "Versace"

“Very Donatella,” Backstage at Versace


The fifties and twenties may be getting a lot of play in Milan, but the reference points backstage at Versace weren’t bound by a specific decade. “It’s the Versace woman,” Redken creative consultant Guido Palau said matter-of-factly, which meant “gorgeous and rich” hair fit for its designer, Donatella Versace—”big, bouncy blow-outs,” more specifically. Adding extensions so that every model had hair that swept below her shoulders—a typically cropped Arizona Muse included—Palau prepped strands with Redken Aerate 08 All-Over Bodifying Cream Mousse and used a large round brush to dry hair, rolling sections into pin curls to set. Then, right before models hit the runway, the curls were let down for super-luxurious length with a bit of a soft bend through the ends.

“It’s very Donatella,” makeup artist Pat McGrath confirmed, crafting creamy, clear complexions before etching in a full, natural brow. Finishing touches came by way of mascara on top and bottom lashes, and a glossy coat of clear lip balm dabbed onto pouts for a hint of moisturized shine.

Photo: Luca Cannonieri /

How To Get The Fall Flush


While we typically associate blush with Spring—when an onslaught of rosy pigments tend to hit shelves to help the pale masses ease their way out of winter and into the summer sun—the great cheek accentuator is making an uncharacteristic splash for Fall. As one of the trends we’ve noticed backstage this season, blush has come in a whole range of shades and, perhaps more interestingly, placements, providing an updated take on an age-old staple.

Most recently, models sported “a gorgeous rosy cheek” at Versace, where Pat McGrath finger blended Olay’s Simply Ageless moisture-rich formula from the apples of models’ cheeks toward their temples, only a day after making it the star product backstage at Prada. There, in accordance with Mrs. Prada’s “innocent glamor” directive, McGrath placed the rosy pigment on cheeks, lids and lips for a uniform flush.

Before the fashion pack headed across the pond, rouge went rogue on countless occasions in New York, too. At Marc Jacobs, François Nars dabbed his Cream Blush in Lokoune low and haphazardly to resemble “a grandmother who’s a bit eccentric.” The placement wasn’t all that dissimilar to Tom Pecheux’s at Ralph Lauren where the face painter intentionally went low to “get rid of the sporty look. This keeps it from being too girly,” he said of the layers of MAC Cosmetics blush in Fleur Power, a bright pink, and Esée Lauder Silky Powder Blush in Radiant Peach, a warm apricot, that he blended just above the outer corners of the mouth before painting on a bright red pout.

Perhaps our favorite flush thus far came at the hands of Gucci Westman. “I wanted you to really feel it-like it’s authentic,” the Revlon global artistic director said at Oscar de la Renta where she swirled the brand’s ColorBurst Lipsticks in Fuchsia and Candy Pink in a “big apple” on models’ cheeks. The best part? Her inspiration: Westman could not get the image of Björk on the Jean Paul Gaultier runway circa Fall 1994 out of her head when the raven-haired Icelandic beauty rocked a similar look. Love.

Photo: Clockwise from top left, Luca Cannonieri / at Marc Jacobs; Luca Cannonieri / at Oscar de la Renta; Luca Cannonieri / at Ralph Lauren; Luca Cannonieri / at Versace; Luca Cannonieri / at Prada

Lindsey Wixson Battles The Taylor Momsen Effect


Despite showcasing a “new type of glamour” with uncharacteristically clean, glowing makeup backstage at her Spring show, Donatella Versace is already back to glam, if the ad campaign for her brand’s latest fragrance, Vanitas, is any indication. The print visual for the lime, freesia, and Tahitian gardenia eau is making the rounds on the blogosphere this afternoon, as it’s fronted by catwalk queen Lindsey Wixson. Wearing an off-the-shoulder Versace dress, the 16-year-old model is a far cry from the fresh-faced, impeccably complexioned girl who walked the label’s show last month. Instead, she sports heavy black eye makeup, bleached brows, and middle-parted platinum blond hair (so hot for Spring 2011). Wixson looks gorgeous, as always, but that eye makeup really detracts from her major selling points, i.e., her flawless skin, pouty lips, and pillowlike cheeks. We actually noticed this during the shows; spotting Wixson in heavy eye makeup at Jean Paul Gaultier, Prada, and Roberto Cavalli, we found ourselves unable to control blurting out an audible “Why?!” Why would anyone want to muddle that visage with so much sooty liner and shadow when her bare-faced beauty is so stunning—as evidenced by her turns at Christopher Kane, Alexander McQueen, and, well, Versace? Take a gander at the collage we’ve assembled above and let us know if you agree.

Photo: Clockwise from top left, Luca Cannonieri / at Alexander McQueen; Courtesy of Versace; Luca Cannonieri / at Jean Paul Gaultier; Luca Cannonieri / at Prada; Luca Cannonieri / at Christopher Kane

“A New Type of Glamour” Backstage at Versace


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.

Photo: Luca Cannonieri /

Cosmetics With Benefits


With just the Paris shows to go, it’s safe to say that smoky eyes are going to be huge for fall. The black smolder, with occasional variation (a softer brown version has also made a good showing this season), has been one of the most consistent elements we’ve noticed backstage—aside from an influx of TV crews and untouched dessert trays. Yesterday alone, we saw two prominent versions of the look, with a heavy metallic liner (another good option for diversification) adding to smudged-out black and gray shadows at Versace and Dsquared². Perhaps anticipating the technique’s increased popularity, Benefit Cosmetics just launched its new Smokin’ Eyes Sexy Eye & Brow Makeover Kit, a handy all-in-one compact that makes application easy for those times when a team of professional makeup artists is simply inaccessible. The palette includes three shadows, a black eyeliner pencil, a brightener, brow powder, two brushes, and mini tweezers. There’s also an instruction manual so you get just the right amount of sultry—and completely avoid giving yourself a self-imposed shiner.

Photo: Courtesy of Benefit Cosmetics