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| style.com |
The backstage scene at Marc Jacobs can get so harried, the designer instituted a new system a few seasons ago: If you don’t show up four hours before the show’s 8 p.m. start time, don’t bother showing up at all. Last season, he canceled backstage access entirely. But running a tight ship means that things now run particularly smoothly—especially when the highly anticipated New York event’s beauty look is relatively minimal. “I’m in a supporting role today,” said Redken creative consultant Guido Palau, who was charged with setting the hair so that it sat well underneath Jacobs’ bevy of towering, colored mink hats. Following Jacobs’ “get rid of it” directive, Palau created center-parted pigtail braids, which he wrapped into knots before using his fingers to jostle a “mist of hair” that “floated” over the front of the face. “Marc likes a total look even if you don’t see it,” he pointed out.
Since Jacobs’ wide-brim chapeaus covered a good quarter of models’ faces, makeup maestro François Nars’ job was similarly subdued. “The hats are very overpowering,” Nars admitted, although that didn’t deter him from inserting his own bit of “romance with a touch of decadence.” Referencing the 1920’s and Marchesa Luisa Casati, the face painter mixed the black shade from his Eyeshadow Duo in Panda with his Eyeshadow in Bali to create a smoky “round” eye that he described as “really dreamy but sad, in a way.” Skin was left purposefully bare—”no blush, no lip, just pale and very dewy,” said Nars, who added a strong eyebrow and an even stronger lower lid, which he rimmed with his Eyeliner in Black Moon. “I’m using lots of mascara,” he added, focusing on the lower lash line—a detail that was just barely visible beneath the headgear that Lindsey, Alana, Frida, and co. donned on the runway. At a Marc Jacobs show, every little detail counts.
Since Jacobs’ wide-brim chapeaus covered a good quarter of models’ faces, makeup maestro François Nars’ job was similarly subdued. “The hats are very overpowering,” Nars admitted, although that didn’t deter him from inserting his own bit of “romance with a touch of decadence.” Referencing the 1920’s and Marchesa Luisa Casati, the face painter mixed the black shade from his Eyeshadow Duo in Panda with his Eyeshadow in Bali to create a smoky “round” eye that he described as “really dreamy but sad, in a way.” Skin was left purposefully bare—”no blush, no lip, just pale and very dewy,” said Nars, who added a strong eyebrow and an even stronger lower lid, which he rimmed with his Eyeliner in Black Moon. “I’m using lots of mascara,” he added, focusing on the lower lash line—a detail that was just barely visible beneath the headgear that Lindsey, Alana, Frida, and co. donned on the runway. At a Marc Jacobs show, every little detail counts.
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| style.com |
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