Jack McCollough and Lazaro Hernandez have a thing for boyish beauty. Face contours and full brows have become as essential to a Proenza Schouler collection as an emphasis on hand-crafting, which makes Diane Kendal's job fairly easy. "It's really simple—classic Proenza," Kendal said of the makeup backstage at the designers' Fall show, blending MAC Sculpting Cream in Richly Honed, a sepia brown, onto models' eyes and grooming brows with its Eye Shadow in Coquette so that "the girls looked like themselves"—and a little like Melissa Stasiuk.
The heavy-fringed Argentinean catwalker opened the show, and her naturally stained lids and high cheekbones couldn't have been more on point.
Stasiuk's languid locks were also in line with Paul Hanlon's decision to revisit the kind of straight, "street" hair he christened backstage at Joseph Altuzarra. After washing every model's strands on site with Frédéric Fekkai's Apple Cider Clarifying Shampoo to remove the residue of six days' worth of shows, Hanlon set to putting a certain "unkempt tension" back into the hair, working Fekkai's Coif Anti-Frizz Silkening Cream into individual sections to add weight so it wasn't about volume. "We're constantly bombarded with the idea that big hair is beauty," Hanlon said, starting on a tirade about the rise of "skinny hair." "You never see Kate Moss walking out of the house with big, va-va-voom hair," he remarked, ensuring that each models' roots were flat and that there was a slight kink through the lengths, which he achieved by twisting two front sections and tucking them behind the ears. To further remove any persisting perceived glamour from the hair, Hanlon asked Ben Gregory and Mari Ohashi—both members of his team—to take the red out of Stasiuk's brunette locks so they were "slightly darker and more matte." Kel Markey, Lida Fox, and Marie Piovesan also got dye jobs for the show.