Runway Makeup: Proenza Schouler Fall 2012



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“Last season, she was more sophisticated, more lady,” Diane Kendal said of the Proenza Schouler girl. “She’s gone back to very cool.” This meant brown grease paint — M.A.C.’s Richly Honed Sculpting Cream — around the eyes; moist, dewy skin; and only a touch of lip balm. “Not really a look,” was how Paul Hanlon described the hair in comparison to spring’s more sculptured style. “It’s about the confidence of not having to do anything.” To achieve this effect, Hanlon shampooed with Frederic Fekkai Apple Cider Clarifying Shampoo before blowing hair dry. For those with thicker locks, he braided a layer against the head before twisting the rest with his hands and setting the ends with Fekkai Ultra Light Finishing Creme. He wanted to let the girls’ personalities come through, let their hair relax after a long week. He chalked up the success of the concept to the designers Jack McCollough and Lazaro Hernandez’s stellar casting. Like Kendal, he felt the boys were “bringing it back to what they’re all about.”



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Runway Makeup: Thakoon Fall 2012



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“I was really nostalgic for old, elegant New York. I just wanted to feel dressed up again,” Thakoon Panichgul said last weekend, explaining his Fall collection inspiration to his go-to glam squad of hairstylist Odile Gilbert and makeup artist Diane Kendal as the group met up for the first time to discuss the beauty look for the season. And with that, each woman set to work turning his vision into reality, readying a few different hair and makeup options to try with the clothes. Gilbert went with “a modern, destroyed chignon,” treating hair with Kérastase Mousse Substantive and Double Force Hairspray to give it guts, before forming a top and bottom section. Creating a ponytail with the top half, she flipped the lengths over themselves and secured them, fashioning a short bang “as an homage to Audrey Hepburn.” Back-combing the bottom section, she made a twist that she then broke apart with her fingers, ensuring that the sides were very flat and the back was slightly disheveled. For her part, Kendal chose to zero in on the idea of a strong mouth that was “lady but eccentric.” Cue NARS Lipstick in Heatwave, a bright orange-red pigment that she topped with an electric pink powder to amp up the color and “make it more modern” with a matte finish. Needless to say, it was an easy sell. Panichgul greenlighted both looks, which made their way down the runway last night.



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Runway Makeup: Jason Wu Fall 2012



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The Inspiration: The Ming Dynasty meets 1940s Hollywood

Hair: Kerastase Paris stylist Odile Gilbert created a warrior ponytail that channeled "Tomb Raider's" Lara Croft. She prepped the models' hair with Fibre Architecte to smooth ends and boost shine. She then flat-ironed before gathering into a sleek, high ponytail. Extensions were added and the ends bluntly cut. For a surprising twist, she wrapped electrical tape around the holder. Gilbert finished with a blast of Double Force Controle Ultime Hairspray.

Makeup: "Jason Wu's fall collection is very rich and opulent so he wanted to reflect that in the face," said MAC Cosmetics lead artist Diane Kendal. Inspired by the collection's military touches, Kendal drew on a very defined eye using an emerald shadow that extended out in a shape she described as "Hollywood." Blush shades in Sculpt and Tenderling were applied to give cheeks a warm glow. Kendal slicked on black liner closely to the lids and then applied mascara. Brows were filled in heavily, while the lips were left bare.

Nails: OPI manicurists carried out Wu's vision for an opaque nude effect by painting on Santan-tonio (a creamy mocha), followed by a clear top coat.

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Runway Makeup: Carolina Herrera Fall 2012

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“She wanted big hair, big hair,” Orlando Pita said yesterday, recounting Carolina Herrera’s specific directive about the beauty look for her Fall show. Like a good collaborator, Pita obliged her, giving her the biggest hair we’ve seen this week. To build the foundation inside the style as well as maintain the voluminous shape, Pita spritzed models’ strands with copious amounts of Moroccanoil Luminous Hairspray Strong, back-combing as he went to achieve height. “It’s nice to do something different—to break the mold,” Pita continued, throwing out words like “graphic” and “bold” to describe the mass of hair that was contained around the hair line by a simple piece of black elastic and occasionally tied at the bottom with a bow.

Because the hair statement was so, er, big, makeup artist Diane Kendal kept the face intentionally “fresh and bare.” Using MAC’s Mineralize skincare, she applied a light layer of its Face and Body Foundation before she carved out cheeks with MAC Sculpting Powder in Sculpt, adding a touch of its Blush in Tenderling on the apples for a hint of warmth. Filling in brows, Kendal skipped mascara—something she’s made a habit of for Fall—and colored in mouths with MAC Lip Liner in Spice, which she topped with a clear balm to emulsify the matte pigment ever so slightly.

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Runway Makeup: Jason Wu Spring 2013

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There was no mistaking Jason Wu’s intentions backstage for Spring, where models like Ming Xi, Cara Delevingne and Karlie Kloss were letting their nails and toes dry with two glistening black coats of OPI Suzi Skis in the Pyrenees, lips a perfect shade of cherry red, hair slicked into a masculine/feminine quiff. “It’s Helmut Newton,” hairstylist Odile Gilbert confirmed of the “expensive, elegant, but not vulgar” updos Wu asked her to create for the occasion. It would make sense, then, that the designer would get one of the famed photographer’s regular subjects to open his show.

“She’s special,” Gilbert joked as she tended to supermodel Carolyn Murphy’s blonder-than-usual strands. (”I’ve been surfing,” the Montauk regular confirmed of her freshly sunlit locks.) Prepping hair with Kérastase Elixir Ultime to impart a smooth texture while treating damage, Gilbert created a deep side part, slicking one side back and weaving what she called an “African braid” up the back with the bulk of the lengths, keeping her plait very close to the scalp. The other side offered up a feminine contrast to the masculine severity via a single glossy wave, which Gilbert secured with a halo of Kérastase Double-Force Hairspray. “The shine makes it modern,” she surmised of the finished product.

Makeup artist Diane Kendal continued the Helmut homage with a really strong crimson mouth and equally fierce brows. Starting with a freshly cleansed complexion courtesy of a steamed mask of Sunday Riley Good Genes treatment mixed with its Ceramic Slip cleanser plus a massage of Riley’s hydrating Juno Serum, Kendal created “fresh, dewy” skin that was deliberately contoured—a staple of Newton’s many nineties-era muses. Dusting MAC Sculpt & Shape powder in Taupe beneath cheekbones, Kendal dotted the apples with its Blush in Poised, adding highlights with MAC Iridescent Powder in Silver Dusk on top. Eyes were treated to a similar dose of Sculpt & Shape Powder in Taupe through the crease, which Kendal applied after a wash of its Pigment in Golden Yellow. An elongated stroke of black crème liner on the top lash line added definition to multiple swipes of MAC Haute and Naughty Mascara in Too Black before brows were beefed up to “boyish” proportions.

As for that lip, it was a work in process with not one, not two, but five different steps. Kendal coated the entire pout with MAC Lip Pencil in Cherry, using its Lip Pencil in Vino, a darker wine stain, just around the outline. Then came a dose of MAC Lipstick in Lady at Play, a pink hue, which she topped with its Lipmix in Process Magenta, only in the center, and a sprinkling of its Pigment in Neo-Orange. Do try this at home.



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Runway Makeup: Alexander Wang Spring 2013

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The supermodel surprise that caused more than a few oohs and ahs backstage at Alexander Wang last season was notably missing for Spring, save for a catwalk cameo from Erin Wasson. But there was still plenty of shock value in the catacombs of Pier 94. Following the Kristen Stewart affair scandal that dragged her name through the international tabloids, Liberty Ross was getting ready for the runway; then there were those strips of scalp tape.

“It’s severe and simple-looking,” Guido Palau suggested of the pieces of black—and, in some cases, glow-in-the-dark white—electrical adhesive he stuck to slicked-down middle parts. “It looks more futuristic and takes [the style] to another level so it’s not too simple,” he continued of the accessory he added to a classically placed low ponytail that he prepped with Redken Satinwear 02 Ultimate Blow Dry Lotion, adding a slight bend to the lengths with Sultra’s The Bombshell oval curling iron. Enhancing the modern, otherworldly feel were fingers painted with two coats of Dune, the neutral beige that is part of Wang’s latest collaboration with Sally Hansen (which also includes White Out, a sheer alabaster), and about ten sets of bleached brows, purposely lightened by L’Atelier de Laurie’s Laurie Foley, and modeled by the show’s blond closers including Iselin Steiro, Magdalena Frackowiak, and Daria Strokous.

The makeup was “bold, strong, and sexy”—words we imagine Diane Kendal has all but memorized after seven-plus seasons of building up Wang’s signature “boyish” brows and not much else. Her focus was on arches again this season. Using NARS Eyeshadow in Blondie or Bali to create depth and thickness after treating complexions to a slathering of NARSskin Optimal Brightening Concentrate and a light coat of its Sheer Glow Foundation, Kendal dusted the high points of models’ faces with its new-for-Spring Light Reflecting Setting Powder. Simulating a slight flush with NARS Blush in Zen, she continued, contouring lids with its Cream Eyeshadow in Cayenne, a rich milk chocolate. Then Kendal did something that is gaining popularity for Spring: She skipped the mascara altogether, because glossy black lashes “make you look more pedestrian and normal,” she said. And the intrigue mounts.



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Runway Makeup: Victoria Beckham Spring 2013

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Part of the fun of being backstage at a Victoria Beckham show is that it’s a family affair. Since the birth of her daughter two years ago, it’s become common practice for Beckham’s soccer star husband to emerge pre-presentation, Harper on his hip. The other thrill is to see the hair and makeup.

Beauty for Beckham is an evolution, much like her clothing design; “she’s still figuring out [that] side,” Guido Palau said, pointing out that she likes a strong look but wants to keep it simple—which is why Diane Kendal’s original orange lip was scrapped at the last minute for Spring’s early preference for the subtle and subdued. In its place were “contours” and “highlights,” two familiar words in New York this week, which Kendal created using a series of Maybelline New York Expert Wear Eyeshadows in Made for Mocha and Nutmeg, powder pigments that carved out the hollows of cheeks and the sockets of eyes with a bit more definition than you’d get from a cream product. Its Eye Studio Color Tattoo Eyeshadow in Too Cool, a creamy silver shimmer, provided a luminescent shine to cheekbones, brow ridges, and the bridge of the nose.

Palau’s look started out “unreferenced” and stayed that way. Operating under the guise that “something just feels right about minimal hair right now” and without a specific era or individual from which to cull inspiration, he went with a dual-textured middle part that was prepped with Redken Guts 10 Volume Spray Foam Mousse to provide a grip to the hair, which was rough-dried with its Powder Refresh 01 Aerosol Hair Powder Dry Shampoo in back and given long, purposeful flyaways. “The hairlines have got to be perfect,” Palau instructed his team as he smoothed down front sections with its Shine Flash 02 Glistening Mist—the better to wear those perfectly crisp, buttoned-up-to-there collared shirts, we imagine.

 

 

 

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Runway Makeup: Akris Spring 2013

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The Look: Minimal Sophisticate.

The Hair: Guido Palau created a simple ponytail using very little product: simply water and Redken Powder Refresh 01 dry shampoo for a matte effect. He pulled wisps of hair out around the face to ensure the look wasn’t too severe.

The Makeup: Embryolisse moisturizer was used to prep the face for a look that was meant to be both classic and modern. To achieve this, Diane Kendall paired a strong ”poppy orange red” lip (YSL Rouge Couture #17) with a “shimmery, luminous face.” NARS Gueule de Nuit cream blush applied to the apples of the cheeks lent a bronze-gold glitter.

Nails: Dior Beige Safari.

The Product: Redken Powder Refresh 01.

The Takeaway: Says Palau: “A lot of hair this season is all about ease.”



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Runway Makeup: Sacai Spring 2013

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The Look: “Innocent girl with some kind of darkness,” said the Sacai designer Chitose Abe backstage.

The Hair: “A little spooky” is how Guido Palau described it. “Tim Burton-ish, ghoulish.” This meant creating a natural texture using only Redken Forceful 23, a middle part and then allowing ears to stick out, and finally setting with a wig cap to be removed at the last minute.

The Makeup: Diane Kendall used M.A.C. set powder and greasepaints to balance the girliness of the clothes. Brown was applied to the contour and crease of the eye, reddish brown to the lid and underneath, black close to lash line and smudged below, while white was used on the brow, down the nose and on cheekbones. There was no mascara and eyebrows were brushed and penciled in. Majorca powder blush for a pop of pretty. Lip balm on lips.

Nails: Nars black with glossy topcoat.

The Product: M.A.C. greasepaints

The Takeaway: “There’s still prettiness in a darker world,” Kendall said.



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Runway Makeup: Chloé Spring 2013

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"There's a slight sixties silhouette, but she didn't want the makeup to look sixties," Diane Kendal said of Claire Waight Keller's Spring collection for Chloé. So Kendal borrowed the idea of a retro cat-eye and tweaked it for the here and now with a rectangular shape and an unusual hue: copper.

"[Waight Keller] wanted to use color on the face and this is just the color I liked," the makeup artist said of the Smoked Paprika cream eye shadow from MAC's Fall Trend Palette that she slicked across lids, squaring it off toward the inner and outer corners of the eye and topping it with MAC Pigment in Copper Sparkle.

Skipping the mascara, as has become her signature for Spring, Kendal drew a fine black cream line onto the upper lash line, resisting her usual urge to brush on contours and settling instead for a hint of MAC Blush in Something Special.

"Sort of Twiggy" is how Guido Palau described the deep side parts that were prepped with Redken Wax Blast 10 High-Impact Finishing Spray and its Powder Refresh dry shampoo for a flat, matte texture. "It's got the ease of a half-up, half-down," Palau said of lengths that were pulled into a loose elastic for a style what was neither a knot nor a bun, he insisted, just an effortless, swept-up look. "This season, it's been more about nuance, rather than big statements."



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Runway Makeup: Tory Burch Spring 2013

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The Look: Prairie Girl.

The Makeup: Using M.A.C. Cosmetics, the makeup artist Diane Kendal created a fresh, natural look at the request of the designer Tory Burch. Face and Body Foundation, as well as Prep + Prime Transparent Finishing Powder, were used as needed to perfect the complexion. A touch of Pro Pigment in Frost brought light to the cheekbones and bridge of the nose. On the eyes, cream shadows from the new Pro palette — Runway Rose on the lid and Must Have Brown in the crease — added subtle definition. Brows were filled, with lashes and lips left bare.

The Hair: The stylist Eugene Souleiman opted for windblown, wheat-like fishtail braids to complement Burch’s Spring 2013 collection. “It’s not a boring, Pippi Longstocking sort of look,” he says. “There’s a romance and lightness to the texture.” An excess of extensions were used to create fullness and length, with the hair being set and secured using only Wella Professionals Stay Essential Finishing Spray (light-hold, flexible hairspray).

The Nails: The manicurist Michelle Saunders achieved a natural-looking nail with one coat of Essie Fed Up, a sheer nude-pink.

The Product: M.A.C. Cosmetics Spring 2013 Forecast Palette is available now at the brand’s Pro stores.

The Takeaway: Souleiman opted to glue on the hair extensions (as opposed to clipping in) to allow for texture and volume at the crown.



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Runway Makeup: Alberta Ferretti Spring 2013

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"Aquatic goddesses — innocent but not naive," hairstylist Guido Palau said about the hairstyle that complimented the fluid dresses in Alberta Ferretti's spring 2013 collection.

To achieve a wet, sea-tangled look, Palau, using Redken products, applied Guts 10 Volume Spray Foam into water-dampened hair. Clips were slipped into the crown to maximize the wind-swept volumes and to keep hair off the face. Naturally-dried hair was slicked with Shine Flash 02 Glistening Mist to hold the glossy, wet shine.

Makeup artist Diane Kendal, using MAC Cosmetics, started with a Prep + Prime Skin Smoother. Grease eye shadow was blended towards the brow in soft, smoky strokes. A yellowy-golden trail was dusted across the lids and shimmered underneath the eyes with Pigment in Golden Lemon. Brows were lightly accented with brown powder to continue the diaphanous, wet look.

On nails, Keri Blair, senior artist with the MAC Pro Team North America, created a custom-made lacquer. The color, painted onto roundly-filed nails, was a mixture of Pigment in Pink Opal and clear nail polish to evoke an "iridescent, mother of pearl wash, like a sequin or a mermaid tail."

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