Runway Makeup: Jeremy Scott Fall 2012

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Inspiration: Designer Jeremy Scott is known for creating some of the wildest runway looks each season, and this time around was no different. Models in technicolor outfits strut down the catwalks looking like Harajuku-girl cartoon characters. Scott was inspired by club kids at raves and the '90s computer age.

Makeup: Kabuli for Mac Cosmetics created a "circuit board" of bindis across the models' foreheads, which he hand-crafted (all 456!) the night before. He adhered them with eyelash glue, and gave the girls shockingly bright blue lips (using Lipmixes and eye shadow). The flashing bulb in the center of each models' forehead was an internet score. According to Kabuli, the rest of the look (mascara with brown and gold eye shadow) is totally wearable and goes great will with a punchy-pink pout.

Hair: Eugene Souleiman for Wella Professionals braided their hair into a center, mohawk-like cornrow and used hair extensions to build wigs onto their heads (it tools about 30 to 40 minutes per model!). This turned them into Avatars or sci-fi versions of themselves. If this seems too extreme for anyone besides Nicki Minaj, try colorful clip-in strands.

Nails: Dashing Diva Design FX Bling strips with rainbow keyboard-shaped dots were applied to the model's nails. The adhesives can easily be peeled off with some cuticle oil. Fun fact: They were the same ones used in Katie Perry's iconic Smurf nail art tips.

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Runway Makeup: Peter Som Spring 2013

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Pastel-colored hair streaks have enjoyed a longer stay of execution on the runway then some members of the style set (this one included) are willing to believe. So when we arrived backstage at Peter Som this morning only to see that they would be making another appearance here for Spring, we definitely took pause. And Wella Professionals global creative director Eugene Souleiman noticed. “It’s good clothes, bad hair,” he admitted, explaining that his goal was to counterbalance Som’s “very rich-looking” collection with something deliberately “distressed, vintage…and patchy.” So he collaborated with Wella color ambassador, Aura Friedman, to work mineral-hued dyes—tourmaline, amethyst, teal, denim, and dusty rose—into a series of long weaves. “I wanted it to feel very spontaneous,” Souleiman said, gluing the hairpieces into “unusual” parting patterns while prepping strands with Wella’s Ocean Spritz Beach Texture Spray to create a matte feel. “It’s meant to be visual, not technical,” he insisted, pointing out that application is key when it comes to keeping pops of color from looking less contrived, and more “tough and cool.”

Makeup artist Tom Pecheux also had juxtaposition on his mind. Describing Som’s clothes as “more grown up,” Pecheux was intent on keeping faces playful. “When you become an adult, you do everything for a reason; kids do everything for no reason. Like, [their] drawings are amazing,” he said, explaining the thought process behind the finger-painted, “innocent” pastels he used on models’ eyes. Dusting lids with MAC’s forthcoming Eyeshadow in Sunshine, a sunny yellow, Pecheux applied another wash of pigment through the crease in varying shades of orange, blue, green, pink, and mauve. As a finishing touch, he left a darker thumbprint right below brushed-up brows, using a more concentrated dose of one of five corresponding MAC Paintsticks. Mouths were kept nude with varying slicks of MAC Lipstick in Luxe Natural and Posh Tone. As far as who got what eye-shadow combination, Pecheux left that to models’ whims. “As soon as it becomes too studied, it loses the innocence.”

“Nail art is not going away,” Deborah Lippmann told us last season, and if there’s one thing we can already report from the backstage trenches after two days of shows, she continues to be correct for Spring. Lippmann brought her own high-design touch to Kate Spade today, where she churned out a series of multicolored gingham prints with polish, but it’s a continuation of the artful French manicure that she previewed at Donna Karan for Fall that seems to have staying power. A mattified, black-on-cream iteration stole the show at Tanya Taylor yesterday, and this morning at Peter Som, it was an orange-on-mint green version that had everyone talking. Custom-created for Som, two coats of Zoya’s pastel lime Neely were topped with a bold stroke of the mandarin Sharon. Both will be sold in a trio kit with Jacqueline, a creamy beige, starting…now: The limited-edition collection launched right after Som’s 10 a.m. show and will be available at www.zoya.com while supplies last.



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Runway Makeup: DKNY Spring 2013

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Relaxed, easy beauty was the order of the day at DKNY. Eugene Souleiman, working with Wella at the show, created hair that was “fresh, chic and controlled” on the top and more textured toward the ends. Souleiman began by doing a deep side part and spraying the hair with Wella’s Perfect Setting at the roots, blowing the top of the hair dry to a smooth finish. Next, he took a small section of hair from the front, tucking it behind the ears. Souleiman then gathered the hair from the nape to ends and held it in a French twist while spraying it with Wella’s Ocean Spritz. He released the hair and dried it with a diffuser for a tousled texture from nape to ends.

Charlotte Willer, working with Maybelline at the show, aimed for “a polished, natural look — she’s an active girl who’s going from sports to work to out at night.” Willer first perfected skin with Maybelline’s Dream Fresh 8-in-1 BB Cream, adding Dream Lumi Touch to conceal skin imperfections. After applying three coats of black Mega Plush Mascara, Willer applied Maybelline Baby Lips lip balm from lash line to brow to catch the light.Next, she applied Fit Me powder in the t-zone for polish, and on lips used Maybelline’s Totally Toffee or Born With It lip color for a natural look. She added a touch of Baby Lips on top of the lip color to catch the light.

Dawn Sterling, doing nails for Essie at the show, used one coat of Fed Up, a sheer nude, on nails, finishing with Good to Go fast-dry topcoat.



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Runway Makeup: Donna Karan Spring 2013



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Charlotte Tilbury, working with MAC Cosmetics at Donna Karan, made eyes the focal point for beauty at the show. “It’s a blank canvas with a sci-fi, modern feel,” she said. After covering the eyelid with concealer, Tilbury used a magenta MAC lip pencil to line all around the eye, stopping about two-thirds from the edge of the eye on top and bottom. Next, Tilbury brushed MAC’s Process Magenta Chrome on lashes as mascara and bleached eyebrows. MAC’s Face and Body Foundation was used to mattify the center of the face, and MAC’s Politely Pink lipstick finished the look.

Eugene Souleiman, working with Wella at the show, created a very textured, not-too-perfect updo. “This is what modern hair should look like,” he said. “It’s organic and has attitude.” Souleiman spritzed roots with Wella’s Ocean Spritz, blasting roots with a hairdryer. Next, he took sections from each side of the hair and made them into ponytails, which he knotted together, then tucked in. Using a blowdryer, Souleiman sprayed hairspray into the flow of the air — “It’s a great way to diffuse the spray but still make it hold,” he said — and added a bit of Perfect Setting for shine. Headbands finished the look.

Nails, by Marian Neuman for MAC Cosmetics, were a mix of Quiet Time, a dark taupe, with Cream Delicate, a pale pink, layered over it. “The objective was an expensive beige,” noted Neuman.





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Runway Makeup: Mary Katrantzou Spring 2013

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“I’m glad to be getting back to my roots,” Eugene Souleiman joked—no pun intended—backstage at Mary Katrantzou, where the hair hero and Wella Professionals global artistic director made his grand return to London fashion week after a five-year hiatus. He picked a good show for his comeback, too; Katrantzou’s whimsical prints pack plenty of power in the way of beauty inspiration.

“[They're] very conceptual,” Souleiman admitted of the designer’s Spring fabrics, which included colorful, graphic adaptations of exotic stamps and banknotes, which caused the coiffeur to stay the “couture and sharp” course with the hair in complement. “The detail of the clothes needed something minimal to go with it,” he elaborated of the four-section updo that was based loosely on the aerodynamic shape of a “cycling helmet.” Prepping strands with Wella Create Character Texturizing Spray, Souleiman built a tight bun with the bulk of models’ lengths to anchor a panel of hair from the right side, followed by a panel of hair on the left side that he wrapped and secured on top of the chignon. A front section of hair was then combed backward and set with Wella Finish Shimmer Delight Shine Spray to “elongate and extend the shape of the head in a slightly alien way.” An additional otherworldly element came from Josh Wood, the London-based colorist who dyed a few girls, including Australian stunner Chrystal Copland, a platinum shade akin to “crisp linen” using Wella’s new Illumine range.

Makeup artist Val Garland’s contributions centered around a “ballpoint blue eye that referenced the inky colors of an English pound” (editor’s note: Blue is the new black when it comes to eyeliner for Spring). The precise shade of matte midnight pigment was a mix of two MAC Lipmixes in Blue and Red, which Garland drew onto the upper lash line in a thick, elongated, almond shape to adhere to Katrantzou’s mandate that the girls look “modern and linear.” Garland ditched mascara altogether and gave lips a clear moisturized finish with a swipe of MAC Lip Conditioner. Her intention was to keep skin looking “polished,” which was just fine with St. Tropez skin finishing expert Nichola Joss, who was giving models a “velvet tan” by buffing St. Tropez Instant Glow Wash Off Mousse mixed with its Body Butter into skin with a mitt, to which she added a light layer of St. Tropez Rose Skin Illuminator for a pastel sheen.

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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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