Runway Makeup: Rag & Bone Fall 2012



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“When you have a brand with a signature feeling, you kind of just go with it,” Redken creative consultant Guido Palau said backstage at Rag & Bone, referencing designers David Neville and Marcus Wainwright’s signature style. And so, as she has in nearly every season past, the downtown cool girl reared her languid, texturized head of hair yet again. There were “Patti Smith goes to India” references being bandied about as well, but not in any kind of literal way. “She’s a traveler but she’s still rock ‘n’ roll,” Palau clarified, explaining why strands were a little bit more “dread-y” than usual thanks to Redken’s Full Frame 07 Protective Volumizing Mousse, which was slathered onto wet strands. Palau then added its Rough Paste 12 Working Material paste once the hair was dry. “It defines the texture,” he said of the sculpting product, as he set hair in twists to allow for movement.

The India component was actually Revlon artistic director Gucci Westman’s idea. “The boys were inspired by the jump in severe poverty and wealth [there],” Westman explained, which led her directly to that classic Indian beauty staple enjoyed by women of all income brackets: kohl eye liner. “I used three different eyeliners—a gel, a kohl pencil, and a liquid,” Westman said of her application technique, which relied heavily on Revlon Crème Gel Liner in Black, its Luxurious Color Eye Liner in Black, and its Liquid Liner in Blackest Black. For a slight change of pace, the face painter opted to trace the lower lid only, smudging as she went so it looked rough, “like decay.” Skin was kept “porcelain-y” thanks to a precise layering effort of a blend of skin correctors and luminizers, including the highlighter from Westman’s limited-edition shadow palette for fall in Midnight Express. To ensure that the effect was “pure and angelic,” she misted models with water as they hit the runway for an instant dewy look.

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Runway Makeup: Marc Jacobs Fall 2012

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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.

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Runway Makeup: Rag & Bone Spring 2013

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“Their girl, she doesn’t do a lot with her hair,” Guido Palau said backstage of David Neville and Marcus Wainwright’s Rag & Bone woman who, truth be told, typically favors a naturally languid, bed-head look. For Spring, the story wasn’t really that different. “It’s masculine/feminine, wet/dry, nineties minimalism,” Palau explained of the slicked-back in the front, rough-dried in the back hair he conceived with the designers. A dual texture was key to the look, which the Redken creative consultant prepped with its Guts 10 Volume Spray Foam Mousse, adding a finger-combed bend with Sultra’s The Bombshell oval curling iron before coating front panels with Redken’s Hardwear 16 Super Strong Sculpting Gel.

Makeup artist Gucci Westman kept things dually natural with “raw but beautiful” skin and an “androgynous” brow. Road-testing Revlon’s forthcoming PhotoReady BB Cream for a breathable application of light, complexion-enhancing coverage, the Revlon global artistic director dabbed her new-for-Spring Baby Stick in Pink Passion, a multitasking sheer pigment, onto models’ cheeks for a barely perceptible flush. Eyes were lined with its ColorStay Eyeliner in Brown before getting a few slicks of Grow Luscious Mascara just on the top lashes, after which Westman focused her attention on arches, which were filled in and brushed up with Revlon’s Brow Fantasy pencils. Mouths were slightly stained and then moisturized with Dr. Lipp’s Original Nipple Balm for Lips.

Westman asked one specific thing of her team as the un-air-conditioned backstage area at the 34th Street post office began to swelter: “No highlights or shimmery stuff.” The objective, she explained, was to get to the heart of old black-and-white photographs of Linda and Christy. “I didn’t want it to feel too cosmetic-y,” she clarified. “Sometimes it’s nice to see just skin.”



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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: Ralph Lauren Spring 2013

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Argentine gauchos crossed with all-American Ralph Lauren girls inspired the makeup at the designer’s show Thursday morning. “She’s glowy and sophisticated,” he said. After prepping skin with Estée Lauder’s Idealist and Daywear skin care products, Tom Pecheux — who is creative makeup director for the Estée Lauder brand — applied Lauder’s DoubleWear foundation. Next, he turned to the eyes: skipping mascara, he grabbed a black Lauder eyeliner and lined eyes from the middle of the eye to the edge, making the line thicker as he moved along, but without a wing. Estée Lauder’s Flower Power blush was applied to the cheeks “to satin the face,” and then Pecheux mixed the blush with lip balm and dabbed it on the mouth with his finger.

Guido Palau, working with Redken at the show, created a classic chignon. “About 90 percent of the girls are wearing hats, so the hair is sort of second-fiddle to that,” said Palau. He started with a center part, then blew hair dry with Redken’s Satinwear 02 blowdry spray. Next, he applied Redken’s Fashion Works 12, a working spray, in the hair and pinned hair at the nape of the neck. He finished with an application of Redken’s Shine Flash 02 Glistening Mist for shine.



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Runway Makeup: Lanvin Spring 2013



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“It’s just a very easy look,” said makeup artist Pat McGrath backstage at Lanvin. She swooshed some brown-gray cream shadow around models’ eyes and used black eyeliner on the inside of their peepers. The top trace was then wiped away “to make the girls look very cool and beautiful,” said McGrath, who applied foundation powder to skin and a tiny amount of concealer to lips.

“[It is] as if you could do the makeup yourself,” said McGrath.

Hairstylist Guido Palau also went for an easy look, teasing the front of models’ hair for texture and leaving the rest hanging freely. He used a touch of hairspray.

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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: Prada Spring 2013



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After putting on a veritable makeup clinic here for Fall that included a lesson on tricolored eyes with splashes of orange, purple, and black, Pat McGrath shifted her attention due south of models’ lids for Miuccia Prada’s Spring show. “It’s a bold, bold, bold red lip,” she said of the matte crimson color she traced around mouths. “It’s all about a passionate woman [this season] and you can’t get more passionate than red.”

Building a flawless complexion with a slight highlight on the high planes of the face, McGrath groomed brows, adding a brown pigment through the eye socket and tracing the upper lash line with a stroke of shimmering white shadow. Then she focused on pouts, which were rimmed with CoverGirl LipPerfection Lipliner in Hot and filled in with its LipPerfection Lipcolor in the same shade. “It’s all about oversized,” she elaborated, keeping the color slightly outside of the lip line and drawing a white, “illustrationlike” curve along the cupid’s bow. “[It] makes them appear bigger,” a well-educated Jessica Stam pointed out of the animated element’s effect on her own lips, showing off some impressive know-how gleaned, no doubt, from years of enrollment at McGrath’s backstage beauty school. Lashes were simply curled and left sans mascara, while toes got two coats of CoverGirl’s Outlast Stay Brilliant Nail Gloss in Ever Red-dy and Reliably Red, which peeked out of the rare pair of flat or platform sandals that came down the runway without a set of socks (only Miuccia Prada can make sandals and socks look cool).

Guido Palau injected a touch of “tomboyishness” with a series of classic French twists that he deliberately made more “broken.” Busying his team with the task of blow-drying models’ hair straight with Redken Thickening Lotion 06 Body Builder to create a base level of texture, Palau himself took on the task of twisting individual updos on individual models like Guinevere Van Seenus, whose strands he gathered straight back, spritzed with Redken Quick Tease 15 Backcombing Finishing Spray, and then pinned up, letting the ends hang over her forehead like makeshift bangs. “Designers always want fringe, but they don’t want to use fake fringes,” he explained of the deceptive technique. “[They] want a girl with character,” he elaborated of Miuccia Prada specifically, pointing out that no matter the sartorial order—”there was a Japanese stroke,” Palau acquiesced of today’s collection—”it’s always Prada.”



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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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Runway Makeup: Jil Sander Spring 2013



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“I worked with Jil a lot on campaigns a long while ago—with Guinevere [Van Seenus], in the old days,” Pat McGrath said backstage at Jil Sander, where the old days all of a sudden seemed new again. Van Seenus made a surprise runway appearance this week in Milan, and today, Jil Sander returned to helm her namesake line for the first time in eight years.

“The DNA [of the brand] was always very simple, but there was still something going on with the makeup,” McGrath continued, slipping back into flashback mode when describing the Spring beauty look, which had all the same elements of nineties-era Sander—the tonal lids and lips, the filled-in arches, and the clean skin—but with a slight nudge of modernity that came by way of a creamy highlighter that was blended onto cheekbones, temples, and eyes to catch the light as girls walked the white-on-white concave runway. “There’s a lot of maintenance,” McGrath explained of the bulk of her backstage duties, which included everything from eyebrow plucking and brow recoloring to exfoliating with Olay Regenerist Pro-X Cleanser and applying SK-II Signs Eye Masks to girls in need of a little de-puffing. “They really do work!” she proclaimed of the hydrating cloth strips.

Guido Palau, another one of Sander’s longtime collaborators, was feeling similarly nostalgic. “It’s kind of funny doing Jil Sander with Jil Sander,” he joked, having previously worked both with Sander and her predecessors, including current Dior creative director Raf Simons. That said, Palau is plenty familiar with the house codes, which called for “really rich, simple, simple hair.” Cue the ponytails that hung low and long thanks to blunt-cut extensions prepped with Redken Satinwear 02 Ultimate Blow-dry Lotion and its Shine Flash 02 Glistening Mist. “It’s stick straight,” Palau said of flat-ironed strands, before gathering them into an elastic, which he “dragged down” so it didn’t sit too tight or too perfect.

“You realize how forward-thinking she was,” Palau reminisced of Sander as finished models scurried toward the dressing room to get into their clothes for the show.”She has a keen eye for pure beauty”—the kind that dominated the first half of the Spring shows and was perhaps at its best here.

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Runway Makeup: Dolce and Gabbana Spring 2013

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Domenico Dolce and Stefano Gabbana’s ever-present homage to their native Sicily makes for a reliably gorgeous hair and makeup look, as there’s not much that can top the southern Italian island’s reputation for classic, sexy beauty. “It’s Sicilian summertime,” Pat McGrath said of her specific direction for Spring, which meant a pink, rose, and apricot flush paired with an elongated eye. “There’s nothing heavy,” she emphasized. “It’s about shape, glow, and perfect skin.”

Creating a base with Dolce & Gabbana The Makeup Luminous Liquid Foundation, McGrath indulged in some blush—three of them to be exact, in Sole, Mocha, and Apricot—which she swept across cheekbones and up toward the temple for a warm radiance. “[The designers] also showed me this fab picture from Avedon,” she said, motioning to a black-and-white fifties-era glamour shot that hung from a mirror and prompted her to draw on “a more modern version” of a cat-eye that was extended from upper and lower lash lines that had been completely rimmed using a combination of Dolce & Gabbana’s Crayon Intense Eyeliner in Chocolate and its Khol Pencil in True Black. “Use the pencil first,” McGrath advised for achieving the perfect flick, which she initially drew on with the Khol Pencil and then retraced with its liquid Glam Liner in Black Intense for added opacity and drama. Lids received a dusting of pale gold shadow from Dolce & Gabbana’s Eyeshadow Quad in Desert before McGrath dabbed its Classic Cream Lipsticks in Chocolate and Iconic onto mouths, blotting with her fingers as she went to leave a faint wine stain that was slightly darker around the cupid’s bow. “There’s a lot of bold colors in the collection,” she explained; no need to overdo it on the face.

“Dolce really understands the beauty of a woman,” Guido Palau effused as he added to the narrative with an “updo,” as he called it. “It’s not really a twist or a knot,” he insisted of the folded and pinned coif that was decorated with 79 different silk scarves, one for each model that walked in the show. “There’s a lightness and desirability,” he continued of strands that were rough-dried with Redken Aerate 08 Bodifying Cream Mousse and meant to resemble “how a Sicilian woman would just tie her hair up in a scarf.” As Josephine Skriver held her printed accessory close to her head, Palau tied it at the nape of the neck and slightly askew, making sure the hairline was visible. “The rough texture makes it softer and more feminine,” he said, offering up a few pointers for proper scarf-wearing, including this one: “Make sure it’s touching the ears,” he added, positioning the crisp fabric accordingly. “That helps loosen the idea.”

 



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