"There isn't a muse this season," makeup artist Val Garland disclosed backstage, but that didn't mean inspiration was lacking at Mary Katrantzou. "It's just a super-fabulous finish, and it's very Mary," she continued. MAC's forthcoming lip stains were used to create a diffused red lip that struck the perfect balance of blue and yellow tones. "There is so much going on in the collection—so many patterns, embellishments, and materials—that it was important to keep the makeup quite simple: fresh skin and a matte mouth," she added. Complexions were flawlessly reflective with a light layer of MAC Mineralize Foundation, and lashes were left completely bare. "This season there is either loads of mascara or nothing at all. There's no middle ground," Garland said.
When it came to hair, however, change was in the air. "We've never done hair down before at Mary," said hairstylist Anthony Turner, "so we thought it was time for a change." Hair was "down, but not down," which is stylist talk for strands that were worn loose but pinned underneath the many high, choir-boy-esque collars in the collection. Turner pulled and fluffed the hair so that only the ends were tucked underneath the necklines of dresses, tops, and jackets. For instances where there were no collars, he misted L'Oréal Professionnel Tecni Art Pli (a heat-activated setting spray) all over before tying a ribbon around the hair and neck and locking in the shape with a blow-dryer (the ribbon was later cut before the models hit the runway). The result was a distinctive kink that gave the impression that the hair had been trapped under a coat.
And there was something new on fingertips, too. Manicurist Marian Newman left the shape and length natural but painted one or two coats of MAC Matte Topcoat over the entire nail. "By leaving out the color and mattifying the [natural surface], it almost gives the impression of skin," she explained—keeping the focus entirely on the designer's vibrant patterns and unique silhouettes.