Dries Van Noten
Senior Beauty Editor Celia Ellenberg's take:
While some backstage beauty is meant to make a statement all its own (gold foil eyebrows, anyone?), a lot of it is intended to be a muting tactic—to create a uniform neutrality so the clothes truly take center stage. Such was the case backstage at Dries Van Noten, where less was indeed more to put the focus on the designer's heavy-on-the-prints collection. "Even a slight blush would've been a conflict with the clothes," makeup artist Peter Philips explained.
"So we've literally done nothing"—well, almost nothing. Switching back and forth between Chanel's new Perfection Lumiere Long Wear Flawless Fluid Makeup and Vitalumiere Aqua Ultralight Skin Perfecting Makeup, depending on each model's complexion, Philips was after a finish that was not too matte, and not too shiny—"it has to be pure," he said—blending the velvety foundations onto lips, too. To further "eliminate any hint of color," Philips lined the inner rims of eyes with Chanel's Le Crayon Kohl in Clair, a pale peach, and painted two coats of its Le Vernis Beige Petale onto nails, adding its mattifying topcoat so there was "no distraction" from Dries' creations. Final touches came by way of a slick of gloss across lids and slightly built-up arches, which were filled in with only ashen tones of Chanel's Crayon Sourcils eyebrow pencils to prevent any stark, disruptive contrasts.
Hairstylist Paul Hanlon heeded a similar call, although he got the message slightly late in the game. "There was supposed to be really complicated hair but we made a last-minute change," Hanlon said, prepping strands with TIGI Bedhead Superstar Queen For a Day Thickening Spray. He then simply added extensions, created deep side parts, and pulled the lengths into a low ponytail, which he coated with its After Party Smoothing Cream and wrapped around a curling iron for a bit of bend.
While some backstage beauty is meant to make a statement all its own (gold foil eyebrows, anyone?), a lot of it is intended to be a muting tactic—to create a uniform neutrality so the clothes truly take center stage. Such was the case backstage at Dries Van Noten, where less was indeed more to put the focus on the designer's heavy-on-the-prints collection. "Even a slight blush would've been a conflict with the clothes," makeup artist Peter Philips explained.
"So we've literally done nothing"—well, almost nothing. Switching back and forth between Chanel's new Perfection Lumiere Long Wear Flawless Fluid Makeup and Vitalumiere Aqua Ultralight Skin Perfecting Makeup, depending on each model's complexion, Philips was after a finish that was not too matte, and not too shiny—"it has to be pure," he said—blending the velvety foundations onto lips, too. To further "eliminate any hint of color," Philips lined the inner rims of eyes with Chanel's Le Crayon Kohl in Clair, a pale peach, and painted two coats of its Le Vernis Beige Petale onto nails, adding its mattifying topcoat so there was "no distraction" from Dries' creations. Final touches came by way of a slick of gloss across lids and slightly built-up arches, which were filled in with only ashen tones of Chanel's Crayon Sourcils eyebrow pencils to prevent any stark, disruptive contrasts.
Hairstylist Paul Hanlon heeded a similar call, although he got the message slightly late in the game. "There was supposed to be really complicated hair but we made a last-minute change," Hanlon said, prepping strands with TIGI Bedhead Superstar Queen For a Day Thickening Spray. He then simply added extensions, created deep side parts, and pulled the lengths into a low ponytail, which he coated with its After Party Smoothing Cream and wrapped around a curling iron for a bit of bend.
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