Gucci
Senior Beauty Editor Celia Ellenberg's take:
Beholding the backstage scene at Gucci was something of a serious flashback—and we're not just talking about the overt references to Surrealist artist Man Ray and Blondie front woman Debbie Harry. There was Pat McGrath, brow bleach in hand, calling to mind her blocked-out arches phase circa Fall 2009, when an all-forehead, all-the-time mandate swept the beauty establishment. While the makeup guru has since joined her face-painting cohorts in ushering the return of full, boyish brows, she wanted a "tougher, stronger look" for Frida Giannini's 1920's-skewed presentation—the better to showcase a series of "Art Deco, punk" raccoon eyes.
Creating a flawless complexion, McGrath focused her energy on lids, lining the entire eye with Max Factor Kohl Pencil in Black to hold additional pigments like its Smoky Eye Effect Eyeshadow in Onyx Smoke, which was topped with a black shimmer shadow and multiple swipes of its Xperience Volume Mascara.
Like Paul Hanlon at Acne, hairstylist Luigi Murenu was captivated by that phase of life when Debby Harry had bleached-blond hair with black undertones. Conveniently, for Murenu, the new wave rocker's skunk streaks corresponded well to Man Ray's avant-garde black-and-white photography. Prepping strands with the John Frieda Luxurious Volume line, Murenu slicked hair back into two ponytails, tucking them underneath themselves and securing them with electrical tape at the base—a way more striking look than a boring old elastic. Then, he used a colored cream makeup to paint black streaks along sleek slide sections, reverting to a gold pigment to create a similar contrast on brunettes. The hair team at Alberta Ferretti was no doubt thrilled when models arrived for the next show.
Beholding the backstage scene at Gucci was something of a serious flashback—and we're not just talking about the overt references to Surrealist artist Man Ray and Blondie front woman Debbie Harry. There was Pat McGrath, brow bleach in hand, calling to mind her blocked-out arches phase circa Fall 2009, when an all-forehead, all-the-time mandate swept the beauty establishment. While the makeup guru has since joined her face-painting cohorts in ushering the return of full, boyish brows, she wanted a "tougher, stronger look" for Frida Giannini's 1920's-skewed presentation—the better to showcase a series of "Art Deco, punk" raccoon eyes.
Creating a flawless complexion, McGrath focused her energy on lids, lining the entire eye with Max Factor Kohl Pencil in Black to hold additional pigments like its Smoky Eye Effect Eyeshadow in Onyx Smoke, which was topped with a black shimmer shadow and multiple swipes of its Xperience Volume Mascara.
Like Paul Hanlon at Acne, hairstylist Luigi Murenu was captivated by that phase of life when Debby Harry had bleached-blond hair with black undertones. Conveniently, for Murenu, the new wave rocker's skunk streaks corresponded well to Man Ray's avant-garde black-and-white photography. Prepping strands with the John Frieda Luxurious Volume line, Murenu slicked hair back into two ponytails, tucking them underneath themselves and securing them with electrical tape at the base—a way more striking look than a boring old elastic. Then, he used a colored cream makeup to paint black streaks along sleek slide sections, reverting to a gold pigment to create a similar contrast on brunettes. The hair team at Alberta Ferretti was no doubt thrilled when models arrived for the next show.
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