Runway Makeup: Theyskens' Theory Fall 2012



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The Inspiration: "We're doing a T.T. girl, which stands for Theysken's Theory, of course, but is also a French term for a very Parisienne girl. She's gone to visit her grandmother for the weekend to take care of her, and she ends up taking some styling tips from her as well," explained MAC artist James Kaliardos. "It's a throwback look, like something her grandma would have done."

Makeup: The look was light on color, with a powdered face and lots of neutral tones. MAC's lipstick in Classic Nude was used on the cheeks, and Hazy Lilac for the lips. For the eyes, Kaliardos used a beige shadow mixed with some flesh-toned blush and finished with Haute and Naughty mascara.

Hair: Kérastase's Odile Gilbert was tasked with creating straight hair with a dryer, not a flat iron, in order to keep the look more real. "We did a light wave for his show last spring, and we wanted the same spirit, but in winter, you want you hair straight rather than curvy," said Gilbert, who did an imperfect middle-part to show off that real girl look. "You have your coat and your jacket, so if you have all that volume plus volume in your hair..." No good! And if you're a thick-haired girl with hair to spare? Gilbert and team took care of extra oomph by braiding the underlayer of hair, hidden from the eye but perfect for making hair look thinner.

Nails: All models got a mani with CND's neutral, light pink shade, Marshmallow Rose. Makeup pro Jin Soon explained the color choice: "There's a lot of color in his clothing, so we decided to use a very clean, soft pink that goes with everything."



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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: Rodarte Fall 2012



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Before setting up his station with bottles of NARS Sheer Glow Foundation and a multitude of its bronzer and blush compacts backstage at Rodarte, James Kaliardos broke out the skincare. “Everyone’s skin is just disastrous right now,” the face painter proclaimed, soaking cotton pads with NARS’ new Makeup Cleansing Water and then slathering on “pretty much everything” from the brand’s skincare line to remedy models’ dry complexions—the unhappy result of four full days of shows. Once Kaliardos did start in with the makeup, though, there was no stopping him.

“These girls are in the Australian Outback and they’ve been caught in a dust storm,” he said, explaining Laura and Kate Mulleavy’s inspiration for their Fall collection, which manifested itself as a blend of bronze and pink pigments that Kaliardos applied with a heavy hand onto cheeks and lids. “I didn’t want it to be all bronzer and J. Lo,” he insisted; instead, the makeup artist opted for “Faye Dunaway cheeks,” which he sculpted by brushing on layer after layer of NARS Bronzer in Laguna. The shimmering insta-tan also made an appearance on lids, where it was brushed through the brows in the shape of an “arc.” Next Kaliardos dusted NARS Blush in Gaiety, a pure pink, from the crease toward the outer corners of eyes and then dotted its Blush in Madly onto the apples of cheeks, “geisha-style.” To open the eyes a bit, he pressed the white shade from NARS’ Eyeshadow Duo in Vent Glace into the inner corners. Lips were painted an opaque pink with its Velvet Matte Lip Pencil in Bolero. If the makeup looked heavy, that was intentional. “More!” Kaliardos instructed his team. “Stronger!”

Hairstylist Odile Gilbert worked off a similar directive, re-creating a down under dust storm effect by varying the texture in her side-parted faux bobs. Prepping hair with Kérastase Mousse Volumactive, Gilbert created a shorter, curly side of the style, which she adorned with a series of gold pins, some of which had stars on them, and a longer, smoother side that went sans accessories. So how did Gilbert determine which girls got gold stars? “They decided,” she said of the designers. “They decide everything. They know what they want.”



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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: 3.1 Phillip Lim Fall 2012

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There’s detail oriented, and then there’s Phillip Lim. “I’m really hands-on,” Lim admitted last weekend when he summoned longtime collaborators, Nars brand ambassador Francelle Daly and hair stylist Odile Gilbert to his studio to talk beauty for his Fall collection. The meeting of the minds was truly something to behold: Lim took Daly and Gilbert through his designs piece by piece, shared his “neo-noir” inspiration with them presenting a Roy Lichtenstein photo as a starting off point for the makeup, and then sent them on their way to “search for magic,” as Gilbert eloquently put it. And the magic came…slowly. At fist, there was too much red in the “superhero” eyes Daly drew onto lids using NARS Lip Liner in Jungle Red and its Eyeliner Stylo in Nuits Blanches, which she dotted with a “special effect” in the form of its Triple X Gloss for an illustration-caliber shine. And the hair? Well, the hair vacillated between too soft and too sleek, until Lim actually took out a pen and a marker and drew the shape he was after. “I don’t speak the language [of beauty] so sometimes the only way to get there is to paint a picture,” he explained. When everything was said and done, Daly had used almost an entire tube of NARS Larger Than Life Volumizing Mascara, which she had slicked onto custom-cut fake lashes, and Gilbert won Lim over with a texturized updo that she prepped with Kérastase Mousse Substantive and then fashioned into a curled under faux bob on one side with a long, straight section hanging down in the back—for the short term at least. When we arrived backstage at Lim’s show yesterday, he asked her to change the look one last time. “I had to do all 42 girls, in 45 minutes,” Gilbert exclaimed after the presentation. Magic, indeed. Above, watch the process unfold in real time.



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Runway Makeup: Erin By Erin Fetherston Spring 2013

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A hybrid of sweetness and naughtiness was the description MAC Cosmetics’ lead makeup artist Lyne Desnoyers used to describe the look for Erin Fetherston. “The very first images that Erin gave me were of the photographer Ellen von Unwerth,” said Desnoyers, “as well as this very beautiful neo-Sixties eyeliner that she had in mind.” To complement the inspiration, Desnoyers created a fresh palette with creamy highlights. She created a custom color for the lips and cheeks, mixing the brightest orange with the most subtle.

Hair, by Odile Gilbert for Kérastase, was fashioned around a headband. Gilbert created a messy wave using Kérastase mousse and hair spray to give it texture.

Katie Hughes for Butter London finished off the nails with a metallic shade called Lillibit Jubilee. “[Erin Fetherston] wanted the nails to appear like an accessory,” said Hughes, “wanting the nails to be a part of the outfit.”

 

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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: Creatures of the Wind Spring 2013

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James Boehmer, Nars’ global director of artistry, was inspired by the idea of “opposing forces” — a theme for Creatures’ spring collection — for the beauty look he created. To complement the line, which Boehmer called “tailored, constructed” and “immaculately detailed,” he wanted to make sure the models didn’t feel too prim. Inspired also by Japanese Godzilla movies and manga comics, Boehmer set out to create “a strong powerful woman who feels real,” yet had a feeling of fantasy.

“It’s the idea of monstrous beauty,” said Boehmer. “It’s a hot girl on the edge of punk.” Boehmer created a “cranberry matte, smudged, transparent eye” with Nars lipstick and featured an “aggressive” silver pencil liner on the bottom of the eyes to open them. Skin — on which Nars tinted moisturizer was applied — was kept “glowing and radiant” and given a “lit-from-within effect.” Lips were also given an effect, rather than a color, according to Boehmer, who described the pout he fashioned as one that looks like “you’ve bitten your lip, or someone else has. It’s slightly chapped and looks like you’ve been making out.” Mascara was used on both top and bottom lashes to finish things off.

Also taking a cue from Japanese culture, Kérastase’s Odile Gilbert gave the illusion of chopping hair by using an “origami technique,” which forwent the use of scissors. The look, which provided each model with bangs and shorter, straightened hair sections in the front and longer pieces in the back and on the sides, required “a lot of product,” according to Gilbert, who used a cocktail of Kérastase’s Double Force Hair Spray, Nectar Thermique and Elixir Ultime Thé Imperial throughout the style. Because treatment oils were used in the look, Gilbert said, “When the show is finished, [models] have better hair than when they started.” To achieve the cut-hair effect, Gilbert crossed hair and pinned it on top of itself, folding pieces one on top of the other from the side to the back and from the back to the front, she said. “It’s cutting hair without cutting hair,” said Gilbert, who also used a straightening iron on the look. Each model was then fastened with a delicate hair net — black for those with darker hair and nude for blondes — which was tied around their necks. Excess hair was straightened and left to hang out of the net along the nape of the neck.



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Runway Makeup: Monique Lhuillier Spring 2013

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Aquatic inspirations abounded backstage at Monique Lhuillier's ocean-exploring Spring 2013 collection.

Val Garland, for MAC, played up the water element by washing eyes with an electric blue hue. Inspired by "Jerry Hall on holiday in Mustique," Garland used MAC Chromacake in High Def Cyan--which she blended with MAC Mixing Medium--to make it more malleable, as well as MAC eye pencil in High Def Cyan and shadow in the same hue. "It's a really strong build up of color," said Garland, who added that the finish on the eye had both matte and wet elements. A bit of gold shimmer was added to the inner corner of the eye and brows were groomed. According to Garland, models' faces were made to "glisten." After applying MAC Prep + Prime, she contoured cheeks in a bone beige shade. Lips were "played down" with Luxe Lipstick.

To match the marine-like makeup, Odile Gilbert, for Kérastase Paris, created mermaid-esque "holiday hair." She began by parting each model's hair in the center, then sprayed Double Force Controle Ultime from mid-hair to tips. Then, with a three-barrel iron, Gilbert infused "crimp-like" waves. To create an "exaggerated" wet look at the top of the head, so girls looked like they were "emerging from the water," Gilbert used ample amounts of Elixir Ultime, layered with more Double Force hair spray.

Nails and toes, done by Candice Manacchio for CND, were meant to reference both the inside of a seashell as well as water's qualities of movement and reflection. Manacchio layered Lavender Pearl effect polish with Lilac Longing, a shade from CND's new Garden Party collection, which launches in May, 2013. "It 's like staring at your toes under the water at the beach," said Manacchio.



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Runway Makeup: Rodarte Spring 2013

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“A modern-medieval face” is what the tip sheet James Kaliardos was passing around to his team backstage at Rodarte said, but there was more to it than that, of course. “The collection feels Dungeons & Dragons to me, not Joan of Arc,” Kaliardos elaborated, referencing the austerity of old religious paintings and “getting rid of the Kim Kardashian look—forever.”

That meant skipping those familiar, heavily bronzed contours and focusing instead on a paled-out complexion that was treated with NARS Skin Optimal Brightening Concentrate and a light-handed application of its Sheer Glow Foundation just in the center of the face, “because once it gets on the cheeks, it actually looks like foundation,” according to Kaliardos. There wasn’t much visible product on the face at all, really, save for NARS’ Triple X Lip Gloss, which was swathed onto mouths and eyelids and applied through girls’ brows as well, including show-opener Jessica Stam’s. “Can you fix me,” Stam beseeched Kaliardos, who added a little fullness, too, at the model’s request.

Odile Gilbert was working off the proportions of Kate and Laura Mulleavy’s designs. “When they showed me the clothes, I thought [the girls] needed something long,” Gilbert said, referring to the hair, which she made “strict and straight” to accommodate a dragon earring cuff clipped onto models’ left ears. “It’s like the girls are shaved,” she explained, slicking strands with Kérastase Ciment Thermique for a pre-blow-dry polish, and dividing them into three sections: two in back—one hanging straight down over the other—and one in front, which was combed all the way over to one side and coated with its Elixir Ultime for added shine.

The finishing touch came from the most conceptual neutral nail we’ve seen this week. “It took 200 man-hours,” CND manicurist Michelle Huynh said of the three-dimensional polish-on-polish basketweave tips that showcased a blended base of its varnishes in Desert Suede and Frosting Cream. Nude, it turns out, doesn’t necessarily mean boring.

 

 



As we stagger through day six of New York fashion week, the nude nail—or no nail—movement is gaining steam with each passing show. But that hasn’t stopped the industry’s nail artists from flexing their creative muscles. Michelle Huynh’s spiel at Rodarte started much like many similar spiels have gone since the weekend. “We created a base with two coats of Frosting Cream and Desert Suede, which we followed with a glossy topcoat,” the CND manicurist began. But it ended quite differently. “Then we mixed those two colors with Chocolate Milk, painted a piece of wax paper, let it dry, and topped that with a matte topcoat,” she continued—at which point our ears perked up. “We cut the paper into strips,” she explained, demonstrating how the microscopic slivers were then crisscrossed on top of the nail and glued down by another coat of the band’s Super Shiny Topcoat, which was slicked on underneath the paper pieces, not on top of them, so there was a “glimmer” from the different textures playing off one another when models walked down the runway. Not your average nude nail, to be sure.

 

 

 

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Runway Makeup: Cacharel Spring 2013

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The Look: Quirky, French gamine.

The Makeup: “Like white silk, a satin color,” is how the makeup artist Lloyd Simmonds described Madina’s “Shiny Stick” tint used around the girls’ eyes backstage at Cacharel. To create a raw, dewy look, Simmonds applied YSL Touch Éclat and its foundation version all over the face with a flush of YSL Creme de Blush in #2 and YSL Sheer Candy Lipstick in 10 and 3.

The Hair: Elnett hairspray was once again the product of choice to secure Odile Gilbert’s trompe de l’oeil pixie cuts with bangs. Hair pieces matched to each model became fringe. The rest of the hair was twisted up on top of the head.

The Nails: “The clothes already have a lot of color,” said Christina Conrad of why she chose Mavalas Maui, a reflective, glittery white.

The Product: Madina Chic & Shine Stick, which is only available in Milan.

The Takeaway: “Always cute and young,” Gilbert said of Cacharel’s signature style

 

 

 

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