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: Preen Fall 2012

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The Vibe: Outdoorsy and very fresh. The models’ hair certainly looked very weathered with Aveda lead stylist Paul Hanlon creating coifs that he described as “aerodynamic” and “windblown.” To achieve these wild styles, hair was parted down the back of the head and then tied it into either one or two knots, depending on the length of the girl’s hair. Stylists added pins to keep the style secure, while loose ends and other errant hairs were blow-dried and sprayed pointing stick-straight back. To help get a matte, piece-y texture, Hanlon used two Aveda products: Phomollient, a weightless volumizing styling foam, and Pure Abundance Hair Potion, a hair-thickening cream that adds grit.

The makeup also portrayed a very active woman. “It’s a sporty kind of girl who has her blood flowing,” Gucci Westman, for Revlon, said. “She’s modern and athletic, and has good taste in clothes.” To create healthy, rosy cheeks, Westman used PhotoReady Cream Blush in Flushed (available May). For lips, it was a trio of products: Just Kissable lip crayons in Crush and Adore (both also available May) and Super Lustrous Lipstick in Mink. But the biggest statement was reserved for the brows. “The brow is a bit stronger,” said Westman as she shaded in a model’s arches using Brow Fantasty. As for the age-old pencil vs powder question, Westman has a simple response: “It varies depending on the girl’s eyebrows. When they’re more sparse, I like to use a pencil because then I can fake hairs.”



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Runway Makeup: Prabal Gurung Fall 2012



 

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“The casting’s really considered, so I thought the hair should be, too,” hairstylist Paul Hanlon said backstage at Prabal Gurung yesterday, where the designer’s “uncursed”-themed show, which explored the ideas of heaven and hell through periods of black, then blue, then gold and white, necessitated a similarly linear coif. “The girls at the beginning have dark, dark hair but towards the end of the show, it’s almost white blond,” Hanlon explained, prepping strands with Tigi Catwalk Curl Collection Curlesque Strong Mousse, blowing them dry, then adding a hit of its Your Highness Weightless Shine Spray, section by section, for a high-gloss finish. “It’s like Sissy Spacek—flat, narrow hair that’s very pure,” he added, fashioning middle parts that kept the hair deliberately graphic so that it didn’t conflict with the embellishments in Gurung’s clothes.

While Hanlon took the designer’s other influence, the Japanese blue rose, as a green light to mimic Asian hair—”it’s very straight; there’s no movement”—makeup artist Charlotte Tilbury chose a much more literal translation of the prized bloom, playing with turquoise, teal, and cobalt shadows and liners for what she deemed a “hypnotic” eye. “There’s always a story here,” Tilbury said, referencing last season’s “intoxicating” tri-colored lips before throwing out Fall’s makeup references, which included Avatar and scarab beetles. Prepping skin with MAC Face and Body Foundation for an “innocent, fresh” finish, Tilbury used blue and green shades from its forthcoming eye shadow palette in Delft, as well as its Pigment in Blue Brown and its Eyeshadow in Fresh Water, to create a wash of iridescent color. MAC Technakohl Liner in Smoothblue was used to rim both the upper and lower lashline. “There’s a dual tonality,” Tilbury said of the corresponsing flashes of aquamarine and teal, which she described as “precise but very raw” (while examining her team’s handiwork, the flame-haired face painter would proclaim, “more like the feather of a bird of paradise” if she felt the pigment had been applied too angularly). “I don’t want to see a mess—it’s still beauty,” she chirped.

The same blue was echoed in the nails in the form of Blue Rose, one of four new polishes in Prabal Gurung’s continuing collaboration with Sally Hansen. Manicurist Jin Soon coordinated the steely shade with Onyx, a black she gave to the show’s first group of models, and Gilded Lily, a dense gold she applied to its final group, who wore the celestial gowns at the end of Gurung’s show. Ivory Skull, the fourth varnish in the collection, will also be available when the range hits stores in October.



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Runway Makeup: Altuzarra Spring 2013



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“I don’t want to create jealousy,” Tom Pecheux said backstage at Altuzarra, “but [Joseph's] definitely in my top three.” The famed face painter was so transfixed with the designer’s Spring collection, in fact, that recollections of the makeup test were a little fuzzy. “I don’t 100 percent remember [Joseph's] exact words [at the test] because I was hypnotized by his clothes,” Pecheux admitted. He did manage to retain a few key objectives, though. “We wanted the girls to be extremely sophisticated and perfect, but in a simple way.”

This translated into a classic Catherine Deneuve-meets-Yves Saint Laurent face treated with MAC Face and Body Foundation and emphasized with a “very French” accent in the form of a navy, not black, stroke of eyeliner. “It’s royal blue, and I think it’s so chic,” Pecheux clarified of MAC’s Technakhol Pencil in Auto-de-blu, which he drew along models’ upper lash lines. “No wings,” he reminded his team of the lines’ elongated ends, which he wanted to be straight rather than turned upward. “I didn’t want any retro feeling,” Pecheux explained.

When asked why minimalism is emerging as an early trend at the shows in New York, Pecheux noted that “you don’t want anything feeling too heavy, because life is anything but light right now,” referencing the American and French elections and the European financial crisis. “In a way, people want to do less.” Paul Hanlon was on a similar tip, as he became one of many voices to reference Helmut Newton’s special brand of nineties-era minimalism this week, which he mixed with clean, precise equestrian- and Japanese-inspired lines. “But it’s very simple,” the coiffing star stressed of the sleek side parts he prepped with Frédéric Fekkai Full Blown Volume Styling Whip, gathered into a low ponytail that he coated with its Sheer Hold Hairspray for a flat-lacquered effect, and wove into what he called a “half-bow,” not a bun. “A bun would’ve been a cop out.”

Hanlon concurred that requests for a certain kind of subdued beauty have definitely been bandied about by designers so far this season—which is a good thing for people looking for an entry point into the world of high fashion. “Sometimes, when there’s a reference in the look, it can be a bit untouchable; when it’s simple, it makes you believe you can be that woman”—a woman, it’s safe to say, everyone in attendance was envisioning themselves as by the time Altuzarra’s finale hit the runway.

 

 

 

 

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Runway Makeup: 3.1 Phillip Lim Spring 2013

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Backstage at 3.1 Phillip Lim, the models all looked like “one big girl band.” The look was rock and roll, yet sophisticated. Francelle for NARS Cosmetics created a cool, modern take on grungy makeup complete with ten to 12 coats of mascara.

The collection was filled with embellishments, plaid, floral, and even ‘I Love NY’ T-shirts. Francelle was inspired by all these factors. “All of a sudden, I went towards my high school days as me being a grunge girl with my flannel T-shirt and black eye liner and mascara. But I wanted to do a very modern take on that,” said Francelle. “I wanted to duplicate a look as if these girls are playing at Coachella. They are kind of sun-kissed, but have an edgy, bold black mascara eye.”

To get the chunky mascara look, Francelle began by applying two coats of Larger Than Life Lengthening Mascara and then curling the lashes. Once that dried, she went back and started clumping the lashes together and caking on mascara. She added a tiny bit of pink eyeshadow from the Bouthan Duo Eyeshadow (new for spring 2013) just for depth. For the face, she applied Casino Bronzing Powder on the apples of the cheeks and the bridge of the nose. “I left the forehead and chin bare because I didn’t want too much of a finished look,” said Francelle. She finished off the look with Biscayne Park Satin Lip Pencil (a cross between a lipstick and a lipgloss – new for spring 2013). The lip color was too shiny for her liking, so she matted it out with pressed powder.

If you want to recreate the look at home, Francelle recommends dialing down the amount of mascara and concentrating on clumping the lashes together with only a few coats. If you don’t like black, try a colored mascara. “What’s so great about Fashion Week is that people can gather their own inspiration and have their own take on that – that’s always inspiring to me,” she added.

The modern grunge makeup looked extra cool with big, teased hair created by Paul Hanlon for Fekkai and nails by Michelle Saunders for Essie who painted half of each nail with Essie Chinchilly and the other half with Brooch the Subject.



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Runway Makeup: Jonathan Saunders Spring 2013

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“Seventies disco punk” was where makeup artist Lucia Pieroni firmly placed the makeup look backstage at Jonathan Saunders, confirming our suspicions that the designer’s woman had loosened up from her more precise, uptight beginnings. “It’s the day after a big night out,” Pieroni elaborated, cuing up a requisite lived-in liner look of the day-old variety.

Giving skin a “gorgeous, dewy finish” with highlights courtesy of luminescent shades of MAC Cream Colour Base in Luna and Hush, Pieroni relied on her trusty MAC Eye Kohl in Smolder, a rich black, to rim lids, slicking on a touch of grease and smudging the line with her fingers. The pencil was also used in between lashes, instead of mascara, to enhance the undone feel. Added to this was a stamped-on bordeaux lip, which Pieroni created with a deliberate etching of MAC Lip Pencil in Burgundy, a rich wine hue that she was adamant about keeping in the center of mouths, rather than traced around the edges. “Keep [the lips] heart-shaped and perfect,” she instructed her team, adding a dollop of clear gloss in the center of pouts, right before models hit the runway.

“She’s a bit dangerous and has attitude,” Paul Hanlon elaborated, repurposing the D-word that guided him through much of the New York shows. Spritzing hair with L’Oréal Studio Matte & Messy Salt Spray through the mid-lengths, Hanlon worked the product through the ends with his fingers and a diffuser to bring a natural movement to the look. Random sections were given a gentle wave to keep them from appearing too uniform. Then, coating his hands with L’Oréal Studio Silk & Gloss Straight Cream, Hanlon swept side parts over to the left, sculpting them over one eye to add “mystery.” Elnett Diamond Hold & Shine Hairspray kept strands in place and flyaways at bay.

 

 

 

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Runway Makeup: Vera Wang Spring 2013

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Lucia Pieroni, Clé de Peau Beauté’s makeup creative director, looked to capture a soft, ultrafeminine elegance with a seductive flair at Vera Wang. The focal point of the look were the eyes, where Pieroni used Clé de Peau’s new Eye Color Quad in Aquamarine. The lightest tone was blended over the upper lid, while the darkest brown added depth to the eyelid crease. She then applied a bronze shade, dampened with water to intensify the metallic shadow under the eye. Pieroni dabbed on Enriched Lip Luminzer in Sweet Nougat for a barely there glossy finish.

“She [Vera Wang] really wanted the hair to be used as some sort of a material,” said Paul Hanlon for Frédéric Fekkai. “So I decided to take it one step further and make it look more like a fabric rather than hair.” Starting at the back of the head, Hanlon took a section of the hair and back-combed it from the roots to the end. He sprayed a section with Frédéric Fekkai Sheer Hold Hairspray and ran a straightener through it. Then, he flipped the model’s hair and lightly brushed it from the nape of the neck to the ends. While the hair was still flipped, Hanlon crossed two sections of hair over each other at the front of the head. Putting the hair upright, Hanlon pinned the sections as he wrapped them around the models’ hair. He finished the look by pulling a few strands out toward the back with his hands and sprayed thoroughly with Frédéric Fekkai Sheer Hold Hairspray.
Nails were finished with Midnight Incoco Nail Strips.



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Runway Makeup: Marni Spring 2013

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Consuelo Castiglioni is known by the Marni faithful for a certain way with prints. And there was plenty of that in her Spring collection today, although patterns were well paced with plenty of solids as well. “I wouldn’t call it minimal,” the desiger’s longtime face painter Tom Pecheux surmised of the wealth of white, black and color-blocking at play; “I’d call it essential”—which prompted him to take the makeup in a similar direction. “We decided [it] should be very pure,” he said.

“Pure,” in this case, did not mean bare as it has at so many other shows this season. Instead, Pecheux started each girl off with one of his signature massages—a deep-tissue rubdown with Estée Lauder Daywear Advanced Multi-Protection Anti-Oxidant Cream and its Idealist Even Skintone Illuminator—followed by a finger-blending of MAC Studio Sculpt Foundation, which provided a “healthy, glow-y” base. “We are using our fingers to melt everything” he elaborated of the “fresh” color that was applied to cheeks using a combination of MAC Cremeblush in Posey and its red-tinged Mineralize Rich Lipstick in Lushlife. A slightly darker incarnation of the transparent rouge hue appeared on eyes as well as Pecheux smudged MAC’s Mineralize Rich Lipstick in Glamour Era, a plummy black, across lids, mixing it with its Cream Colour Base in Root, a dark brown, which he buffed into the lash line. Just the tips of lashes were treated with mascara to “tint” them before Pecheux set to creating filled-in, “creamy” brows and mouths that were stained with a layering effort of both aforementioned lipsticks.

Castiglioni gave Paul Hanlon carte blanche with the hair. “She wanted me to do my own thing,” the styling star revealed—which usually means some incarnation of a deconstructed coif with a worn-in texture and a downtown feel. This time around, it was way simpler than that. “A lot of girls that work with Consuelo wear their hair like this,” Hanlon said of the sweeping, “organic” ponytail-knot hybrids that were prepped with TIGI Bed Head Superstar Queen for A Day Thickening Spray and treated individually, rather than uniformly. To let girl’s personality shine through, nary an extension could be found at Hanlon’s station as he simply groomed Janice Alida’s newly shorn fade and effortlessly brushed Athena Wilson’s bowl cut to one side.

 

 



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