Runway Makeup: J. Mendel Fall 2012



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1. Prep Team

Before models even got to the makeup chair, their faces were prepped with Dr. Jart Water Fuse BB cream. The three-in-one lotion triples as a moisturizer, serum, and sunscreen and was used to even out skin tone. "I like to call it AC for your face. It instantly cools and soothes," said makeup artist Joy Fennell. Even in the winter months, the potion's good for raw, wind-whipped skin, and she particularly likes recommending it to clients who suffer from rosacea. The biggest stamp of approval? The models raved about it before leaving her chair.

2. Born This Way

"We wanted the girls to feel effortlessly cool—chic, but grunge. In my mind, I was thinking Charlize Theron, Kate Moss," said makeup artist Charlotte Tillbury for Maybelline. "It's like nature naturally blessed you with the perfect flush on the cheeks and lips, nice brows, and thick lashes." To fake flawlessness, Tillbury used Dream Nude Airfoam foundation and highlighter on the cheekbones, nose, and cupid's bow. For cheeks, she mixed two shades of the brand's Dream Bouncy blush: Coffee Cake as the base on the full cheekbone and Rose Petal on the apple "to give a bounce of color."

3. Easy on the Eyes

Tillbury stuck with neutral colors for the eyes, mixing Color Tattoo shadow in Too Cool with moisturizer for subtle color. Then she used a pencil in brown all around the eye, smudged, and topped with a bit of Beige For Good lipstick for "a wet look" (a hint went under the eye, too). For the lips, she cocktailed two products already on the face: a dab of blush for color and a top of the lipstick to neutralize it slightly.

4. Contempo Casual

"She's the contemporary woman of today," hairstylist Orlando Pita said, working on behalf of Phyto and T3. "The hair's a little waved and works both for day and evening." Hair was blown out with Phyto Professional Intense Volume Mousse and curled with T3's SinglePass Twirl iron. The loose ringlets turned into sexy, bouncy waves courtesy of Pita and team. They brushed them out and did some back-brushing for extra fluff.

5. Madame, Please

The Haven Spa for Essie team was backstage giving the models the final lacquered touch: two coats of light pink Mademoiselle plus a fast-drying topcoat. "It's very, very simple," they explained.

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Runway Makeup: Derek Lam Fall 2012



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“She’s a little naughty—she likes to break the rules a bit,” coiffing star Orlando Pita said backstage at Derek Lam of the designer’s sixties-era, college coed muse. What kind of rules does she like to break? The decade’s rigid coiffing norms, for starters. “It’s a little bouffant, but not perfectly done,” Pita explained of the high hair, which he slathered with Phyto Professional Intense Volume Mousse and spritzed with its Workable Holding Spray before blowing dry, back-combing, and crafting two different variations on the style, including a faux bob and a low, messy ponytail. “There’s no uniformity,” Pita reaffirmed.

“She has a twisted mind,” Estée Lauder creative makeup director Tom Pecheux said, adding to the character profile. Like Pita, Pecheux chose to keep things almost perfect—creating a flawless base with Lauder’s forthcoming Invisible Fluid Makeup and carving out an “oval” eye using the burgundy and black shades from its new-for-fall, limited-edition Pure Color Eye Shadow Palette, which he emphasized with black mascara on the top lashes and brown on the bottom using his brand-new, dual-ended Sumptuous Two Tone Eye-Opening Mascara. Cheeks were given a pretty wash of rosy-beige pigment with a mix of Estée Lauder’s Pure Color Blush in Alluring Rose and Brazen Bronze, which was dusted below the apples of the cheeks, rather than on top, to slightly contour and prevent a feeling that was “too teen,” according to Pecheux. Lips were painted a similar shade using a blend of its Pure Color Crystal Lipstick in Crystal Pink and its Pure Color Long Lasting Lipstick in Vanilla Truffle that Pecheux matted down—as he’s been wont to do this week—with a finger patting of white powder. But there was one slightly “off” element that helped convey the bad-girl directive Lam had given his glam squad: Pecheux drew lashes onto the skin below the lower eyelid so that the models looked like dolls—”twisted dolls,” he asserted.



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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: Michael Kors Fall 2012

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A “classic, sportif” look with flushed cheeks and bright lips was created by Dick Page, Shiseido Artistic Director, for Michael Kors A/W 2012 collection.

“The connotation of sportif in Europe is energetic and the look is all about the woman who’s living this life, who’s very chic and made of money.”

Face
The Michael Kors face featured a “bloody, wonky flush”. Dick started this look with a clean, well-moisturized base and applied a wash of Radiant Lifting Foundation (launching Fall 2012) to remove any redness or imperfections.

To create a chevron-shaped flush on cheeks, Dick blended Lacquer Rouge in Drama (RD501), a lipstick with concentrated color, onto the apple of the cheek, along with a dab of foundation using a damp Foundation Sponge Puff.

Eyes
The eyes were given a “transparent, easy, flexible” treatment that resulted in a “very chic,” shimmery, wearable look for day or night.

To create weight in the brow, Dick mixed a blend customized to each model’s natural brow color using Shimmering Cream Eye Color in Sable (BR709), Meadow (BE204), Caviar (BK912), and Leather (BR306). Using a shadow fluff brush, Dick blended Luminizing Satin Face Color Soft Beam Gold (BE206) and High Beam White (WT905) and applied the color to the inner corner of the eye, blending out over the entire lid. (Tip: when mixing color, use a bit more of the High Beam White shade to keep the blend bright.) He then curled the lashes to give them a soft, natural bend, walking the curler up the lashes to avoid a “crimped” look, and finished with Perfect Mascara Full Definition in Black (BK901) on just the upper lashes.

Lips
Red lips on the Michael Kors runway felt very “winter,” emulating “après ski and sex” — an approach fitting for the confident Kors woman.

Dick first took down the natural lip color using a bit of foundation. Then he applied Lacquer Rouge in Drama (RD501) to the entire lip in a defined, precise manner. He blotted with tissue and reapplied three times in order to set the color.

“It’s more like après-sex,” Shiseido artistic director Dick Page interjected, using the brand’s forthcoming Lacquer Rouge in Drama, a deep crimson, to coat lips and blend a creamy flush from the apples of models’ cheeks all the way down to the jaw, “the way you’d get if you were cold, or hot, or excited,” Page explained. Shiseido’s Luminizing Satin Face Color in Soft Beam Gold and High Beam White dusted along lids and cheekbones added a transparent glow. “Blush makes everyone look better,” the face painter surmised. “It’s a very simple way to look and feel glamorous.”

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Runway Makeup: Oscar de la Renta Spring 2013

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At Oscar de la Renta, Orlando Pita and Gucci Westman, global artistic director for Revlon, were both inspired by Audrey Hepburn’s Holly Golightly in “Breakfast at Tiffany’s.” “It’s Holly Golightly meets Keith Haring,” Pita explained as he added colored pieces of hair — blue, pink or yellow, depending on the model — and teased hair into a volumized French twist, finishing with a generous application of hair spray.

Westman wanted girls to look “naughty but nice — I wanted it to feel colorful and pretty.” Westman kept skin luminous with Revlon PhotoReady Color Correcting Primer, PhotoReady Perfecting Primer and PhotoReady Cream Blush in Flushed. Lips were the centerpiece of the look: Westman used Revlon Just Bitten Lipstain + Balm in Crave, Revlon Baby Stick for Lips and Cheeks in Pink Passion and Revlon ColorStay Ultimate Suede Lipsticks in Muse and Preview to create a suede-matte fuchsia lip. Eyes got a bit of ColorStay Eyeliner in brown, curled lashes and a swipe of Revlon Illuminance Crème Shadow in Not Just Nudes. Several girls got freckles — the eye-pencil variety.

Nails were finished with Shock, a vibrant pink; Envy, a sea green, or Flirt, a refined opal white shade. All are limited-edition shades that the designer will begin taking pre-orders for in October.

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Runway Makeup: Michael Kors Spring 2013

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A Sixties-via-the-Nineties vibe characterized the beauty at Michael Kors. Dick Page, Shiseido’s artistic director, focused on adding “a pop of color” to the eyes with a face that was otherwise soft and subtle. He began by applying Shiseido Luminizing Satin Face Color in Soft Beam Gold and High Beam White to create lightness on the eyelid, upper cheek and under-eye area. Next, using a soft fluff brush, he created what he called “a floating graphic arc” along the natural shape of the lid — in turquoise for blondes and redheads, green for brunettes. The upper lash line got a trace of white, followed by Luminizing Satin Face Color in High Beam White and a light coat of Perfect Mascara Full Definition in black. Brows were emphasized using Shimmering Cream Eye Color in a shade appropriate for each girl. Lips were finished with Perfect Rouge in Vision, a pale nudish-pink.

Orlando Pita did a deep side part and swept hair across the head, using elastic bungee fasteners to create two small sections of hair that then were covered with another panel of hair and secured with a thin barrette.



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Runway Makeup: Elie Saab Spring 2013

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“The makeup has to do with beauty, with femininity, and basically there are no makeup tricks,” Tom Pecheux said backstage before the Elie Saab show.

The look he concocted involved black liner and brown powder, plus lashings of mascara on models’ eyes. Pecheux just used Chapstick on their lips and contour for cheeks.

Meanwhile, hairstylist Orlando Pita conceived a sleek coif by parting models’ hair to the side and attaching it low at the backs of their heads with metal barrettes he created.



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